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The images of Los Angeles by Britain’s Archigram group are a little perplexing. Are they depicting the Los Angeles of the 1960s, or a projected Los Angeles? On July 21, architectural and urban historian Simon Sadler delves into Archigram’s Los Angeles, a city that became the new locus of the urban imaginary in the vanguard circuits of 1960s London. Sadler considers how Archigram’s projections of a future Los Angeles were perhaps nostalgic for California’s recent past, while serving London’s larger fantasy of spontaneous, populist, self-organized urbanism.
Simon Sadler is professor of architectural and urban history at the University of California, Davis. His publications include Archigram: Architecture without Architecture (MIT Press, 2005); Non-Plan: Essays on Freedom, Participation and Change in Modern Architecture and Urbanism (Architectural Press, 2000, coeditor Jonathan Hughes); and The Situationist City (MIT Press, 1998). He currently coordinates the California section of the Society of Architectural Historians’ Archipedia project.
Image: Warren Chalk (Archigram), Santa Monica Beach, teaching slide, c. 1968.
For more information on the exhibition, Everything Loose Will Land, click here.
In conjunction with the Graham Foundation’s current exhibition, “Everything Loose Will Land,” curated by Sylvia Lavin, LA-based architect and designer Jason Payne will explore hybridity, chance, and “looseness,” and discuss how these concepts have informed his own experimental design work.
Jason Payne is associate professor of architecture at University of California Los Angeles and Principal of Hirsuta. He received his BArch from Southern California Institute of Architecture and his MS in Advanced Architectural Design from Columbia University. Prior to founding Hirsuta in 2008 he worked as project designer for Reiser + Umemoto/RUR Architects and Daniel Libeskind Studio and partnered on the award-winning office Gnuform. He has held teaching positions at Southern California Institute of Architecture, The Ohio State University, Rice University, Pratt Institute, Rensselaer Polytechnic Institute, and Bennington College.
Image: Hirsuta (Jason Payne and Tim Callan), On The Turning Away, from Planetesimal Series II.
For more information on the exhibition, Everything Loose Will Land, click here.
On June 21, American artist and electronic musician Three Legged Race (Robert Beatty) closes out Lampo's spring 2014 season with a performance and screening of new and recent work, as well as sound and video collaborations with artist Takeshi Murata, including the Chicago premiere of OM Rider and a new video piece commissioned by Lampo.
Robert Beatty is an artist and electronic musician who performs solo under the name Three Legged Race. He is a long-running member of the bands Hair Police, Eyes and Arms of Smoke, and C. Spencer Yeh's Burning Star Core. Through Beatty's collaboration with video artist Takeshi Murata, Three Legged Race has performed at the Ullens Center for Contemporary Art, Beijing, China; Deitch Projects, New York; the Mattress Factory, Pittsburgh; and the New Museum, New York. In 2013, Beatty released the acclaimed "Soundtracks for Takeshi Murata" (Glistening Examples), a collection of his audio work for Murata. Beatty's performances and recordings explore the repetition and decay of simple musical themes, evoking minimalist sci-fi soundtracks, clouded hypnotic landscapes, and primal industrial techno. He lives in Lexington, Kentucky.
This performance is presented in partnership with Lampo. Founded in 1997, Lampo is a non-profit organization for experimental music, sound art, and intermedia projects. Visit www.lampo.org.
The Graham Foundation and the Goethe-Institut Chicago are pleased to present a rare screening of films by German filmmaker and television art pioneer Gerry Schum. From 1968 to 1970, Gerry Schum broadcasted original artist films through German public television. This radical model bypassed traditional institutions with the direct dispersal of artwork into the domestic space. International in scope, Schum’s productions featured work by Joseph Beuys, Alighiero Boetti, Jan Dibbets, Richard Long, Mario Merz, Richard Serra, Robert Smithson, among others. Albeit brief, Schum’s project introduced a new framework for viewing earthworks and conceptual and performance art in the context of everyday life.
On June 11, 2014, Gerry Schum’s television productions return to the domestic space with a rare screening at the Graham Foundation’s historic Madlener House. The program includes Fernsehgalerie's two television exhibitions, Land Art (1969) and Identifications (1970), along with Dies alles Herzchen wird einmal dir gehören (All This Darling Will Once Belong To You) (1967) and Konsumkunst - Kunstkonsum (1968)—two early documentary works Schum produced for Hessischer Rundfunk, Hesse and Westdeutscher Rundfunk, Cologne. The first occasion to screen all four works together in Chicago, the event sheds light on this lesser-known collaboration between European and American artists between 1967-1970. The screenings will be introduced by curator Robyn Farrell.
Gerry Schum, Land Art - Fernsehausstellung I, Fernsehgalerie Berlin, 1969, DVD transfer, 32:00. Richard Long, Barry Flanagan, Dennis Oppenheim, Robert Smithson, Marinus Boezem, Jan Dibbets, Walter de Maria. Courtesy Groninger Museum, Groningen, Netherlands.
Gerry Schum, Identifications - Fernsehausstellung II, Fernsehgalerie Berlin, 1970, Video. 36:00. Joseph Beuys, Reiner Ruthenbeck, Klaus Reinke, Ulrich Rückriem, Daniel Buren, Hamish Fulton, Gilbert & George, Stanley Brouwn, Ger van Elk, Giovanni Anselmo, Alighiero Boetti, Pier Paolo Calzolari, Gino de Dominicis, Mario Merz, Gilberto Zorio, Gary Kuehn, Keith Sonnier, Richard Serra, Franz Erhard Walther, Lawrence Weiner. Courtesy LIMA, Amsterdam, Netherlands.
Gerry Schum, Dies alles Herzchen wird einmal dir gehören (All This Darling Will Once Belong To You), Hessischer Rundfunk, Hesse, 1967. DVD transfer 6:55 min. Performance organized by Paul Maenz and Peter Roehr, Galerie Dorothea Loehr. September 9,1967, Frankfurt am Main, recorded by Gerry Schum.
Gerry Schum, Konsumkunst - Kunstkonsum, Westdeutscher Rundfunk, Cologne, 1968, DVD transfer from 16mm, 29:32.
This event is made possible with the generous support of the Goethe-Institut Chicago.
Gerry Schum (b. Cologne 1938-1973) was educated in television and film production at the Deutches Institut fer und Fersehen in Munich, and at Fernsehakademie from 1961-1968. He began work as a cameraman and filmmaker for television broadcast stations in Berlin around 1966, completing a series of documentary collaborations for television broadcast: Schaustücke—Ereignisse (Showpieces—Events, 1967); 6. Kunst-Biennale San Marino (1967); and Konsumkunst-Kunstkosum (Consumption-Art, Art-Consumption, 1968). Together with Ursula Wevers, he initiated Fernsehgalerie Gerry Schum, 1968-1970 and Videogalerie Schum, 1971-1973. Over the course of five years Schum worked as producer and cameraman to broadcast and distribute artist films and videos by John Baldessari, Joseph Beuys, Jan Dibbets, Gilbert & George, Michael Heizer, Mario Merz, Bruce Nauman, Ulrich Rückriem, Richard Serra, Keith Sonnier, Ger van Elk, Lawrence Weiner, among others. In 1972 Schum was commissioned to present video art sections at Document 5 and the Venice Biennale. Before his death in 1973 Schum accepted the position of curator for the first video art studio at the Folkwang Museum in Essen, Germany.
Robyn Farrell is a Chicago-based writer and curator whose work explores the intersection of contemporary art, technology, and time-based media, and early European video collectives c. 1970. Farrell has written and organized programming for INTUIT: The Center for Intuitive and Outsider Art, the DePaul Art Museum, and Conversations at the Edge at the Gene Siskel Film Center, among others. She is currently Curatorial Assistant in the Department of Contemporary Art at the Art Institute of Chicago.
The Goethe-Institut is the cultural institute of the Federal Republic of Germany. Global in reach, the Goethe-Institut aims to promote knowledge of the German language abroad, foster international cultural cooperation, and convey a comprehensive picture of Germany by providing information on Germany's cultural, social and political life. For more information, visit www.goethe.de.
Please join us for a special screening of The European Rooms, a short film by media artist David K. Ross that presents intimate views of Enlightenment-era architectural interiors featured in the Art Institute of Chicago’s Thorne Rooms. In Ross’s newest work, an unhurried camera glides across drawing rooms, bedrooms, dining rooms, and entrance halls filled with finely crafted furniture and carefully selected objets. Though well-appointed, this "sealed and stifling" world of privilege, class, and prestige is also inescapably uncanny and oneiric. A slow unraveling of cinematic, sonic and architectural space played out in real time, The European Rooms is as confounding as it is elucidatory.
David K. Ross works in a variety of media including film, video, photography and installation, and is based in Chicago and Montreal. His formal training as an architect and his experimentation with large format photography and film have resulted in a wide range of projects investigating the history of optical technologies and geodetic practices, museum taxonomies and transport systems, self-storage facilities, and urban infrastructures. Ross's work has been exhibited in major institutions in North America and Europe, and are included in private and public collections including the National Gallery of Canada, the Musée d'art contemporain de Montréal and the Canadian Centre for Architecture. His films and videos have been shown at CineMarfa (2012), Le Mois de la Photo à Montréal (2013), and the Festival Internacional de Cine en Guadalajara (2014).
Image: David K. Ross, The European Rooms, 2014. Production still, HD video, 27:30. Courtesy David K. Ross.
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