January 24–March 26, 2015
Nichols Gallery, Broad Center
Curated by Ciara Ennis
Joshua Callaghan, Chris Cobb, Michael Decker, José Clemente Orozco Farías, Clare Graham (MorYork), Nina Katchadourian, Alice Könitz, Elana Mann, Rachel Mayeri, Melanie Nakaue, Jenny Perlin, Steve Roden, Vivian Sming, Stephanie Syjuco, Chris Wilder, Jenny Yurshansky and First Street Gallery Art Center artists: Herb Herod, Evan Hynes, Joe Zaldivar
In contrast to current museological models that derive their practices from their nineteenth century counterparts, the wunderkammer—generally regarded as a prototype for the first museums—can provide an alternative. Distinguished by their eclectic and all-encompassing collections, these early museums celebrated heterogeneity and difference as accolades—objects collected ranged from functional everyday artifacts to biological anomalies. Their interdisciplinary and all-inclusive practice resulted in a non-hierarchical approach; value was assigned according to the object’s polyvalent signifying power, its ability to be endlessly interpreted rather then categorically determined. As their name suggests, these museums championed wonderment as a vital tool for knowledge acquisition.
By providing a different rubric, these early models can offer an alternative lens to critique prevailing exhibitionary practices by calling attention to the codes and conventions of current display strategies, chronological placements, and exhibition typologies. By interrogating these classificatory norms it is possible to examine how these taxonomic structures dictate behavior in other areas of our lives—labor, leisure, culture—and by extension their impact on how we self identify or are identified by others—race, class, sexuality, gender. As a result, the wunderkammer model provides an opportunity to examine how knowledge is produced and disseminated, controlled and manipulated.
Through the objects and installations, the artists and practitioners in the exhibition explore these ideas through the production of archives—fictional and real; via unique and eclectic cosmologies; by privileging the mundane and forgotten above the conventionally celebrated; the historical as a part of the contemporary; and the nonprofessional versus the established. Furthermore, through the use of specific representational systems these artists reveal and critique established ideological constructs that govern issues of inclusion and exclusion within the contemporary museum.
Wunderkammer is a set of connected exhibitions at Pitzer College’s Nichols Gallery and Barbara Hinshaw Gallery, and the First Street Gallery Art Center of the Tierra del Sol Foundation.
Tags: Alice Könitz, Chris Cobb, Chris Wilder, Ciara Ennis, Clare Graham, Elana Mann, Evan Hynes, First Street Gallery, First Street Gallery Art Center, Herb Herod, Jenny Perlin, Jenny Yurshansky, Joe Zaldivar, José Clemente Orozco Farías, Joshua Callaghan, Melanie Nakaue, Michael Decker, MorYork, Nichols Gallery, Nina Katchadourian, Past Exhibitions, Rachel Mayeri, Spring 2015, Stephanie Syjuco, Steve Roden, Vivian Sming
- Synthetic Ritual
September 28 – December 9, 2011
Curated by Gabi Scardi and Ciara Ennis
Mounira Al Solh, Meris Angeoletti, Beatrice Catanazro, Marcus Coates, Joel Kyack, Lawrence Lemaoana, Yoshua Okon, Adrian Paci, Marco Rios, Kara Tanaka, Carlin Wing, Amir Yatziv
Synthetic Ritual brings together a number of Los Angeles and international contemporary artists working in a variety of media including installation, drawing, performance, and video. The artists explore the idea of ritual as a faith-based activity that can be validated only within certain contexts—for example sport, religion and artistic practice—and cannot be rationally proven or substantiated.
The exhibition examines the presence of ritual and superstition in our professional and personal lives and asks why, in such an advanced and sophisticated technological and cyber driven world, ritual still occupies such an important and dominant role. Exploring the three central themes of ritual in relation to sport, religion, and artistic practice the artists provide refreshing and surprising commentary on ritualized behavior in the 21st century.
Elaborate ritualized behavior by sports fans and players dominates the world of sport. Whether it involves wearing the same unwashed jersey throughout the season, sleeping with a baseball bat to overcome a hitting dry spell, boxers drinking blood before a prizefight, repetitive rituals performed by baseball players with their gloves or feet before stepping into the batter’s box, fishermen avoiding the path of barefoot women, all of these behaviors are regarded as acceptable decorum; yet when isolated and examined, free from the clutter of a falsely normalizing setting, they are utterly absurd and hardly distinguishable from madness.
Similarly, sociocultural practices such as occultism or Freemasonry—as well as more conventional religions like Christianity or Buddhism—are sheathed in secrecy and cryptic codes, and all require adherence to specific practices and costumes. Whether it is transubstantiation or reincarnation, each has its own particular set of rules and fantastic belief systems that require faith in the irrational and the unproven.
Tic disorders, obsessive-compulsive behavior, and repetitive involuntary movements have legitimate expression in many artworks today. Examples abound, this century and last, in expressionism, abstraction, conceptual, pop and performance, and can be seen in work as far apart as Roman Opalka’s mapping of numbers one to infinity and John Bock’s Paul McCarthy-inspired deranged personae performances. Whether artists are using these “syndromes” as systems to make the work—process, series, repetition—or evoking these states to call attention to social/political/cultural aspects, the list of artists is extremely long and likely to grow.
Common to all these practices and activities—whether athletic, religious or artistic—is their reliance on behavior that is obsessive, repetitive, irrational, and unsubstantiated. The work of the artists in Synthetic Ritual all reference or employ some form of ritualistic behavior that, if taken out of the context of art, would be regarded as aberrant and unstable.
Mounira Al Solh (b. Beirut, Lebanon lives and works in Beirut)
Mounira Al Solh’s The Sea is a Stereo (2007-ongoing) documents the daily swimming habits of a group of middle-aged Beirut men, who regardless of circumstance—turbulent weather or bombing raids—are compelled to swim in the sea at the same spot everyday. With the backdrop of incessant violence and interminable conflict, their rigid swimming ritual becomes an act of defiance in the face of the uncertain and chaotic times and creates unity among them. [clear]
Meris Angioletti (b. Bergamo, Italy, lives and works in Paris and Milan)
Meris Angioletti models her practice on the methodologies and procedures of a detective, psychoanalyst and historian, allowing her to assume a number of different roles and experiment with diverse strategies. The video installation I describe the way and meanwhile I am proceeding along it (2009) examines the highly influential 19th century abstract painter, mystic, and suffragette Hilma af Klint. [clear]
Beatrice Catanazro (b. Milan, Italy, lives and works in Milan)
The Water was Boiling at 34º 21′ 29” S, 18º 28′ 19” E, (2008), is a video work which takes the form of an interview between the artist and P.C. Sorcar JR—one of the most celebrated magicians in India—about the legendary “vanishing” of the Taj Mahal in Kachipura, Agra, on November 8, 2000. The work explores the possibility of employing magic and illusion to temporarily erase monuments and the narratives that they represent. [clear]
Marcus Coates (b. London, England, lives and works in London)
Investigating the relationship between shamanism and contemporary art, Marcus Coates’ dramatic and participatory events involve ritualized performances where he attempts to enter into the ‘lower world’ to communicate with spirits of dead animals. Journey to the Lower World (2004), documents one such ritual, which he performs wearing antlers and a reindeer pelt for a group of bewildered tenants from a condemned Liverpool housing estate. [clear]
Joel Kyack (lives and works in Los Angeles)
LOCAL RECORDS is an ongoing series of projects where performance records are set in a specific site and community. These records are based around the number of times an action is repeated in a particular site over a 24-hour period. For Synthetic Ritual, Kyack will be performing a new Local Record live at Pitzer, in the 24 hours before the exhibition’s opening. [clear]
Lawrence Lemaoana (b. Johannesberg, South Africa, lives and works in Johannesberg)
Fortune Teller #5 (2008) and All Things Fall Apart (2008) explore the relationship between sport, spirituality and politics as well as role of the mass media in shaping the psyche in present-day South Africa. Using textiles employed by local sangomas, the cloth—imbued with great spiritual significance—lends authority to the embroidered text. [clear]
Yoshua Okon (b. Mexico City, lives and works in Los Angeles and Mexico City)
As with many of Yoshua Okon’s works, Parking Lotus (2001), an early photographic installation, combines humor with poignant social commentary. Installed floor to ceiling, the photographs depict security guards meditating in lotus positions in various parking lots around Los Angeles, and it is accompanied by the “Meditation Movement Manifesto”—a text supporting the spiritual welfare of security guards. [clear]
Adrian Paci (b. Shkoder, Albania, lives and works in Milan, Italy)
In Vajtojca (Mourner) (2002) Adrian Paci explores private and public mourning rituals. The video depicts a staging by the artist of his own death in his hometown of Shkoder, Armenia, where he was born. Employing a professional mourner, Paci is subjected to elaborate death rites and rituals while laid out on a table in a domestic setting. [clear]
Marco Rios (b. Los Angeles, lives and works in Los Angeles)
Untitled (Weeping Video) (2010) is a large-scale video portrait of the artist with streaming waterfalls tearing from his eyes. The work reveals his larger preoccupation with psychological and emotional states, and the exaggerated use of art historical references. [clear]
Kara Tanaka (b. Modesto, California, lives and works in Los Angeles)
The Hungry Human (Mountain Hunter) (2011) is a large sculptural installation depicting representations of sacred holy mountains found throughout the world, worshipped by pilgrims seeking enlightenment. Reflecting the larger history and conquest of these sacred sites, the work explores spiritual cultivation and the motivation for making grueling pilgrimages. [clear]
Carlin Wing (lives and works in New York)
Carlin Wing’s roles as both an internationally ranked squash player and a widely exhibited photographer come together in her series of video and photographic works Hitting Walls. Wing’s video-loop In the Eye of the Beholder (2009) records the moment when the ball hits either side of the central horizontal line, of the front wall of a squash court, with singular focus and stark economy. [clear]
Amir Yatziv (b. Jerusalem, Israel, lives and works in Berlin, Germany)
Amir Yatziv’s Compressed Ceramic Powder (Battle in the Orchard) (2007) is a video installation featuring a group of young Israeli men solemnly describing their last moments in battle before death. This surreal adherence to the Israeli narrative of martyrdom is disturbed once it is revealed that the soldiers lost a paintball battle, not their lives. [clear]
Gabi Scardi is an international curator and art critic based in Milan. She is a curatorial advisor for MAXXI (Museum of the 21st Century Arts) in Rome and co-curates CECAC (European Course for Contemporary Art Curators) – Fondazione Ratti, Como, Italy and Province of Milan. Between 2005 and 2009 she was the Contemporary Art Advisor to the Province of Milan . She has curated numerous exhibitions internationally including Aware: Art, Fashion, Identity at the Royal Academy of Arts in London (2010). At the Lyon Biennale in 2009, she organized T.A.M.A. – Project “Side Effect”, a collaborative project examining the situation of Romas in Europe. Her other projects include Yoshua Okón, Canned Laughter, Viafarini, Milan, (2009); Libia Castro & Òlafur Òlafsson, Riccardo Crespi Gallery, Milan, (2009); The Mobile Archive, Viafarini Care of DOCVA, Milan, (2009); Marina Ballo Charmet, Parco, Triennale, Milan, (2008); Stéphanie Nava, Considering a Plot (Dig for Victory), Viafarini, Milan, 2008, Alfredo Jaar, It is Difficult, Spazio Oberdan, Hangar Bicocca (2008), Debora Hirsch, BR-101, Fondazione Olivetti, Roma, (2008); LESS, Strategie alternative dell’abitare, PAC Padiglione d’arte Contemporanea (Pavilion for Contemporary Art), Milan, (2006), and LESS#1 Alternative Living Strategies, section of Gwangju Design Biennale (2007).
In addition, Gabi Scardi teaches courses on Contemporary Art and Public Art at Università Cattolica, Milan; Politecnico di Milano, Faculy of Design, Milan; Università Bicocca, Faculy of Sociologioy, Milan; Domus Academy, Milan; TSM – Trento School of Management, Trento.
Ciara Ennis is the director/curator of Pitzer Art Galleries at Pitzer College and was the curator of exhibitions at the University of California Riverside/California Museum of Photography, particularly of Still, Things Fall From the Sky (2005), Ruby Satellite (2006) and Eloi: Stumbling Towards Paradise (2007). Ennis moved from London to Los Angeles where she was project director for Public Offerings, an international survey of contemporary art, at MOCA, Los Angeles in 2001. From there she became associate curator at the Santa Monica Museum of Art, where she initiated the Project Room and programmed a series of experimental exhibitions with such artists as Urs Fischer, Simon Leung, Mark Leckey, Johan Grimonprez and Eduardo Sarabia. Ennis has been director of Pitzer Art Galleries for the past three years, during that time she has curated a number of exhibitions including: Antarctica (2007); Narrowcast: Reframing Global Video 1986/2008, co-curated with Ming-Yuen S. Ma (2008); Veronica (2009); and Capitalism in Question, co-curated with Daniel Joseph Martinez (2010). Ennis’s curatorial practice blurs fact with fiction and focuses on storytelling as a means to explore the fluidity and fragility of identity, revealing the subtleties of the social, political, and the cultural issues that impact our lives. She received her MA in curating contemporary art from the Royal College of Art, London
Opening Reception: Wednesday, September 28, 5-8 p.m.
Curator’s Walkthrough: Wednesday, September 28, 5-6 p.m.
Artist Lecture: Pitzer Art Galleries in collaboration with Pomona College presents Joel Kyack
Wednesday, October 12, 2011, 1:30 – 3:00 p.m.
Lebus Court 113, Pomona College
Tags: Adrian Paci, Amir Yatziv, Beatrice Catanazro, Carlin Wing, Ciara Ennis, Fall 2011, Gabi Scardi, Joel Kyack, Kara Tanaka, Lawrence Lemaoana, Marco Rios, Marcus Coates, Meris Angeoletti, Mounira Al Solh, Nichols Gallery, Past Exhibitions, Synthetic Ritual, Yoshua Okon
- CAPITALISM IN QUESTION (because it is)
January 28 – March 19, 2010
Juried by Daniel Joseph Martinez
Co-curated by Daniel Joseph Martinez & Ciara Ennis
Artists: Ian Arenas, Matthew Brandt, James Melinat, Gabie Strong, Kara Tanaka, Grant Vetter
The rampant capitalism of the last decade, and its recent catastrophic crisis, has left us in a peculiar and unfamiliar space. Capitalist economic ideology and practices are suddenly under renewed scrutiny. CAPITALISM IN QUESTION (because it is) explores our current economic predicament and range of alternatives scenarios.
Co-organized by Pitzer Art Galleries and The Munroe Center for Social Inquiry at Pitzer College.
About Joseph Martinez
Daniel Joseph Martinez (b. 1957) is an internationally exhibiting artist who grew up in Los Angeles. For over thirty years, he has divined sociopolitical fault lines in the American psyche and carefully placed conceptual and perceptual explosives into them. This volume, with essays by Michael Brenson, Hakim Bey, David Levi Strauss, Gilbert Vicario, Lauri Firstenberg, Arthur C. Danto, Linda Norden, and Rachel Leah Baum, chronicles selected works from 1978 to 2008, concentrating on the work of the past sixteen years—from his controversial intervention in the 1993 Whitney Biennial to his Divine Violence piece in the 2008 Whitney Biennial, and including his contributions to the San Juan Triennial in 2004, the Cairo Biennale in 2006, and the Moscow Biennial in 2007. A variety of further installations, text works, paintings, photographs, sculptures, animatronics, and videos complete the catalogue.
Martinez is a Professor of Theory, Practice, and Mediation of Contemporary Art at the University of California, Irvine, where he teaches in the Graduate Studies Program and the New Genres Department.
Daniel Joseph Martinez: A Life of Disobedience, is published by Hatje Cantz, Germany. [clear]
About the Artists
Ian Arenas received his MFA in 2008 from California Institute of the Arts. His solo exhibitions include Negating Has a Long Life but No Future (2009) and Golden Age (2006) at D300 Gallery in Valencia, CA. He has exhibited in numerous group exhibitions including Capitalism in Question (because it is) at the Nichols Gallery at Pitzer College in Claremont, CA (2010), The Holographic Principle: A Screening of Video Works Not Normally Screened at Sea and Space Explorations (2009), LA Wonderground: Recently from Los Angeles at the Maniac Gallery (2008), We Want A New Object at the Acuna-Hansen Gallery (2008) and Salty Dog Bites the Hand at the Angels Gate Cultural Center (2008). Arenas received a Merit Scholarship from the California Institute of the Arts (2006 and 2007) and was the alternate for the Windgate Fellowship at the Center for Craft, Creativity and Design (2006). He lives and works in Los Angeles, California. [clear]
Matthew Brandt received his MFA from the University of California Los Angeles in 2008. His exhibited solo in Chocolate, bees, dust, sperm and sprinkles at the Cardwell Jimmerson Gallery (2009). He exhibited in many group exhibitions including Torrance Juried Art Exhibition at the Torrance Art Museum, Some Young LA Artists at the Cardwell Jimmerson Gallery (2008), The Most Curatorial Biennial of the Universe at Apexart (2007) and at the Schombury Gallery (2001). He lives and works in Los Angeles, California. [clear]
California-born James Melinat received his MFA from the California Institute of the Arts in 2007. He exhibited solo in the exhibition Gravity and Grace (a sum of all my hopes and fears) at D301 Gallery (2006). He has exhibited in numerous group exhibitions including Capitalism in Question (because it is) at Nichols Gallery at Pitzer College (2010), Small (though your heart is breaking) at Gallery 1927 (2009), The Between is Tainted with Strangeness: Superheroes, Zombies and Masked Wrestlers at Farmlab Public Salon (2008), Goodbuy: Cruel World at Space 47 (2008), Mini Mini Max: Festival Internacional de Video at Apetite Gallery (2007) and For Ever at 915 Mateo (2007). Melinat received awards and honors including an Artist’s Fellowship from the Skowhegen School of Sculpture and Painting (2007); a Dean’s Fund Scholarship from the California Institute of the Arts (2007) and a Merit Scholarship from the California Institute of the Arts (2006). He lives and works in Los Angeles, California. [clear]
Gabie Strong, born in Denver, Colorado, received her MFA in 2008 from the University of California Irvine and her Masters of Architecture from Southern California Institute of Architecture in 2006. She has participated in numerous exhibitions including Welcome to the Neighborhood at the Tight Space Gallery (2009), Art Swap Meet at High Desert Test Sites, 2008 California Biennial, (2008), 88 Boadrum at the Los Angeles County Museum of Art (2008); Wreckers, Records, Redeemers at LA Art (2008) and Summer Guests Show at the Acuna-Hansen Gallery (2008). Strong has received numerous awards including the Student Researcher Award in Photography from University of California Irvine (2008), the Graduate Student Research and Travel Grant (2008) and the Graduate Teaching Assistant Fellowship (2008). She currently lives and works in Los Angeles, California. [clear]
A California native, Kara Tanaka received her MFA from the California Institute of the Arts in 2008. Her solo exhibitions include A Sad Bit of Fruit, Pickled in the Vineyard of Grief at Collezione Maramotti, (2010) and Simon Preston Gallery (2009), Migrating Body & Generative Power at CAA (2008) Pining Wind at Hallwalls Contemporary Arts Center (2008) and Dissolver at LA Art (2008). She has participated in many group exhibitions including the 2008 California Biennial at the Orange County Museum of Art (2008); November, Again at the Harris Lieberman Gallery (2008) and Fat Head Balloon Self-Portrait, Exercising for Exorcising (Mein Doppelganger and My Lights (Kokopelli) at Simon Preston (2008). Tanaka’s honors and awards include the California Biennial Residency from the Orange County Museum of Art (2008) and the Jacob K. Javits Fellowship from the U. S. Department of Education. Kara Tanaka resides and works in Los Angeles, California. [clear]
Grant Vetter is a newly emerging artist. He earned his BFA from Art Center College of Design and will receive his MFA in 2009 from the University of California Irvine. He has shown in numerous exhibitions including MFA 2 at UAG Gallery (2008) ACUTE 2: Small Works from 22 Los Angeles Artists at Room Gallery (2008), Catalyst Retrospective at the Catalyst Gallery (2007); Wonderoom at Catalyst Gallery (2007) and JSA (Jim Shaw’s Army) at Rental Gallery (2006). Vetter received an Orange Country Arts Grant for Drawing, Painting and Printmaking (2007) and a Bradford Hall Arts Scholarship (2005). He lives and works in Irvine, California.
January 28 – March 19, 2010
Opening Reception: January 28, 2010, 5-8 PM, Nichols Gallery
Panel Discussion with the Artists and Daniel Joseph Martinez:
February 9, 2010, 4:15 PM, Broad Performance Space, Broad Center
Panel discussion on the exhibition CAPITALISM IN QUESTION (Because It Is), featuring exhibition juror and co-curator, Daniel Joseph Martinez (Professor of Studio Art, UC Irvine) and the artists in the exhibition: Ian Arenas, Matthew Brandt, James Melinat, Gabie Strong, Kara Tanaka, and Grant Vetter.
The panel will be chaired and moderated by Bill Anthes (Associate Professor of Art History, Pitzer College).
Tags: Ciara Ennis, Daniel Joseph Martinez, Gabie Strong, Grant Vetter, Ian Arenas, James Melinat, Kara Tanaka, Matthew Brandt, MCSI, Nichols Gallery, Past Exhibitions, Spring 2010