Contemporary Art in the Americas Arte Contemporáneo en las Américas
Counterspectacles Counterspectacles

Counterspectacles

by Suzy Halajian

Counterspectacles Asco’s ephemeral actions reconfigured the patterns of public space. Stations of the Cross (1971) was the East Los Angeles collective’s first public spectacle: a walking mural along a one-mile stretch of Whittier Boulevard in East Los Angeles, performed on Christmas Eve. It was also Asco’s earliest attempt at reclaiming the streets. The act served as a theatrical, public protest against the

First Supper (After A Major Riot), ©1974, Harry Gamboa Jr. Counterspectacles Asco’s ephemeral actions reconfigured the patterns of public space. Stations of the Cross (1971) was the East Los Angeles collective’s first public spectacle: a walking mural along a one-mile stretch of Whittier Boulevard in East Los Angeles, performed on Christmas Eve. It was also Asco’s earliest attempt at reclaiming the

The Long Take The Long Take

The Long Take

Mariah Garnett and William E. Jones

Los Angeles Contemporary Archive (LACA) Los Angeles, California, USA 07/16/2016 – 08/27/2016

Curated by Suzy Halajian No account of the same event is ever alike. People see things differently, and their stories are affected by the variables and circumstances of any given day. Memory is heavily constructed by time. Artists and filmmakers Mariah Garnett and William E. Jones constantly consider this. Approached as a dialogue between the

Curated by Suzy Halajian No account of the same event is ever alike. People see things differently, and their stories are affected by the variables and circumstances of any given day. Memory is heavily constructed by time. Artists and filmmakers Mariah Garnett and William E. Jones constantly consider this. Approached as a dialogue between the

The Closer I Get to the End the More I Rewrite the Beginning The Closer I Get to the End the More I Rewrite the Beginning

The Closer I Get to the End the More I Rewrite the Beginning

Curated by Suzy Halajian

Human Resources Los Angeles, California, USA 11/21/2015 – 12/13/2015

Bodies are moving, swaying, spinning, coming together in ecstatic relief, only to come apart in Mark Leckey’s 1999 video work, Fiorucci Made Me Hardcore. The video mashes up found footage of British youth culture in various underground dance scenes from the 1970s, ‘80s, and ‘90s with a single soundtrack unifying the images. Serving as a

Bodies are moving, swaying, spinning, coming together in ecstatic relief, only to come apart in Mark Leckey’s 1999 video work, Fiorucci Made Me Hardcore. The video mashes up found footage of British youth culture in various underground dance scenes from the 1970s, ‘80s, and ‘90s with a single soundtrack unifying the images. Serving as a

The Recorder Was Left On, Or The Closer I Get To The End The More I Rewrite The Beginning

The Recorder Was Left On, Or The Closer I Get To The End The More I Rewrite The Beginning

Curated by Suzy Halajian

Los Angeles Contemporary Archive (LACA) Los Angeles 07/08/2015 – 09/26/2015

It is much simpler to come to a conclusion, or a pause perhaps, rather than to return to the beginning again and again. The same is true of returning to a source, which appears new upon each inspection. It shifts, it reacts, it digresses, it is read differently and is experienced in unfamiliar ways. Perspectives

It is much simpler to come to a conclusion, or a pause perhaps, rather than to return to the beginning again and again. The same is true of returning to a source, which appears new upon each inspection. It shifts, it reacts, it digresses, it is read differently and is experienced in unfamiliar ways. Perspectives