Sunday, July 10, 2016

U n s e e n

Summercamp's ProjectProject
Unseen


Allison Alford & Dai Toyofuku
Audrey Chan
Jay Erker
Brian Getnick
Nicholette Kominos
Ruby Osorio
Thinh Nguyen
Elyse Reardon-Jung
Jesse Robinson
Geneva Skeen
Semi-Tropic Spiritualists
Carrie Whitney
and Amir H. Fallah in Guestroom


Unseen July 24th—August 7th, 2016
Opening Reception: Sunday July 24th 58PM


3119 Chadwick Drive, Los Angeles, CA 90032
Hours by appointment, please contact summercampprojectproject@gmail.com




Summercamp's ProjectProject presents Unseen. An outdoor group exhibition bringing together artists whose work reveals underlying magic, psychic phenomena, and textural sound as well as dealing with elements that support and balance, issues of injustice, and social practices. Organized by Fatima Hoang, Elonda Norris & Janice Gomez.


Astri Swendsrud and Quinn Gomez-Heitzeberg’s sculptural information kiosk introduces the audience to their history and projected future of utopian thinking and occult practice through the Semi-Tropic Spiritualists, an organization that created a campsite meeting place outside the city limits of Los Angeles in 1905. Through their installations and performance work, this community is being re-created as a model for exploring ideas of faith and skepticism, belief and charlatanism, and utopian social ideals.  In Goatspace, Ruby Osorio’s works explore fantasy, which she defines as the state of mind she finds herself in when encountering ambiguity.  In this state, there is a thin line between memory and fantasyfantasy can fix itself in the memory to the point of becoming real. Osorio Walks this line using literature, vintage photographs and botanical reference books as source material to explore the uncanny and enigmatic.


In her practice, Jay Erker creates “potential spaces,” which is a psychological term conceived by the British psychologist D. W. Winnicott to designate a conceptual space or a state of mind based upon a series of dialectical relationships: fantasy/reality, I/other, symbol/symbolized, etc., in which each idea affects and transforms the other in a state of perpetual becoming and destruction. For Unseen, Erker’s audio text of essay, lyrical poetry, sound art, and performance addresses the space and environment specifically, and generally address the experience of the art and people. Carrie Whitney questions the sensory experiences in the world for the “unseen” to compete with by investigating its existence. To experience this requires a curiosity and a willingness to listen. In this work a space is created with familiar objects that stereotypically remind us of what could be worn to conjure the unseen.


Dispersed throughout the hillside below the Summercamp patio, Geneva Skeen’s multi-channel sound work is composed of field recordings from the site and surrounding neighborhood. The sound piece will be fragmented into hyper-specific corners of the hillside. The installation itself seeks to provoke an internal dialogue between the listener and the idea of an individual's position within a complex, tiered environment, both literally and metaphorically.  Jesse Robinson couples ready-made objects with fabricated sculptural forms staging conversations in which the language of sculpture collides with the language of consumerism. Using the conventions of display, he examines how these two different, yet related, formal structures shape desire and the relationships we have with things. While Nicholette Kominos’ constructions are based on simple forms inspired by commonplace or everyday objects, she utilizes the context of familiarity to explore how complex and informative the ordinary can be.


Two ceremonial spaces invoking forgotten ties between humans and plants will be led by Allison Alford and Dai Toyofuku. Other collaborators include a resident fig tree, along with an oak tree, several elderberry and black walnut trees, sages and buckwheat from the Lower Arroyo. This event during Unseen is one of an ongoing series of secret rituals that will be performed throughout the summer and the only ritual made available to the public. Human visitors will have the opportunity to participate in communion, blessing, and healing rites.


Elyse Reardon-Jung’s most current work investigates tropes of art history with an emphasis on the delicately absurd and the politely idiotic. Using the illumination of ill-repute, neon, to represent simplified Odalisque nudes, we can consider the liberal way we consume the female form.  Although a well trod path, She is ever curious at the way the female body becomes a repository for hyper loaded cultural signifiers/baggage. Using simple execution and transparent materials, loaded with the weight of constant use. The familiar subject and familiar materials are meant to feel relatable as well as fairly silly. The absurd can be an entry point, a gateway to serious consideration. Audrey Chan’s flag features a series of Sculpey figurines made to resemble the editors of the zine "Would Be Saboteurs Take Heed" carrying heroic personal attributes. By fashioning these figurines, she wants to reconsider and invert the tropes and representational politics of the heroic statue in Western artas large in scale, predominantly male, nude, idealized, and Western or European in identity. The figurines are diminutive, honor Asian American individualism and diversity, and resist totalizing and stereotypical representations. They propose a new set of heroes for intersectional and biomythographical narratives.  


Thinh Nguyen’s current work examines non-binary identity and vulnerability. He reclaims his feminine superego, Long Long, from childhood memories of growing up and wearing dresses. While performing songs he wrote in response to the current sociopolitical climate, Nguyen will be wearing one of the his functional biomorphic sculptures made of reclaimed dresses. Straddling the line between beauty and grotesque, Brian Getnick presents a series of sculptures that brings to mind what once was, could have been, and is now.    

And as a compliment to Unseen, Amir H. Fallah will be featured in Guestroom. Fallah’s approach to art making is akin to the process of an archaeological dig. Fallah investigates his subject’s lives through the analysis of their personal belongings, becoming the arbiter of these individuals’ histories, curating found elements into contemporary portraiture. Through this process he does not attempt to beautify or flatter his subjects, but instead focuses on integral points of their lives that subsequently shaped who they were as individuals. In direct opposition to the history of portraiture, he hides the true identity of his subjects by cloaking them in vivid, patterned fabrics found amongst their belongings. The viewer is forced to craft an identity for the subjects through their own interpretation of the curated elements presented.
Through the process of art making and the employment of contemporary portraiture, Fallah  explores the realms of truth through storytelling. Obsessive consideration of truth’s limitations can help us understand one another, and this examination of identity is the keystone of his practice.

Wednesday, May 25, 2016

another trip around the sun to our infinity year!

In preparation for our upcoming season, we dug into our archives and wanted to share some highlights from Soyoung's pre-residency residency with Summercamp's ProjectProject.





Glitzer (Christy Roberts Berkowitz)


Mixed Greens (Emma Berliner + Amanda Scharf)


Sky gazing with the neighbor's equipment. Shout out to our neighbor across the street, Gabriel!

Moon shot photo credit: Max Silverman

For more on Soyoung's Nevada residency, check out The Montello Foundation's catalog from 2015.

We're celebrating our 8th year in programming and continue to work in El Sereno by providing workshops in local community centers.  Stay tuned for our summer exhibition and another Open Source!


Monday, July 20, 2015

Open Source: residency with Soyoung Shin

Summercamp’s ProjectProject presents Open Source: residency featuring Soyoung Shin.




Open Source is a dialogue series akin to comedians workshopping new material, bands holding residency at a small venue, or a chef testing out a recipe with close friends before putting it in the restaurant menu. It is not presented as a critique, but rather, Open Source is an intimate discussion between artist and audience about ongoing work and ideas.


For Open Source Residency, Soyoung Shin has built a prototype Sky Dish on site in preparation for her upcoming residency at the Montello Foundation in Nevada. Shin will be sharing her prototype, ephemera, ideas, and questions for the audience. The discussion will take place on Saturday August 25th 8-10PM at 3119 Chadwick Drive LA, CA 90032. In addition to the discussion there will be star maps by Mixed Greens (Emma Berliner + Amanda Scharf), stargazing. (bring your binoculars + telescopes!), and summer star forecasts.


Because of the nature of the event we ask you to arrive promptly. 



Artist bio:


Soyoung Shin is a visual artist. Working in video, photo, performance, and installation, she asks the audience to bring awareness to the ways in which first person narrative informs our overall perception. Many of her works are staged and restaged over long durations which allows themes to emerge gradually. Her practice is informed by her identity as a first generation Korean-American woman. She received a BS in Computer Science from the University of Washington.

Her work has been presented at Headlands Center for the Arts, the Korean Cultural Center Los Angeles, On The Boards, the Cynthia Woods Mitchell Center for the Arts, and Velocity Dance Center. This summer she is attending residencies at ACRE and the Montello Foundation. She hosts “Her Variety,” a radio show on KCHUNG.


project description, pragmatic:


Sky Dish is a portable outdoor art installation.


In Sky Dish, a viewer sits within a mirrored structure which measures approx. 10 ft in diameter, and 4 ft tall. The height is such that a seated viewer’s eye level is below the top of the structure, and multiple people can be seated within the structure simultaneously. The entire interior of the installation including the floor is mirrored. The top is left open to the sky. The exterior is comprised of wood and other construction materials.


Sky Dish can be viewed during the daytime or nighttime. During the day, the viewer is enveloped in blue sky. At night, the viewer is enveloped in a pool full of stars and moonlight.


The structure will be built and transported to Montello, NV. This area is one of the few regions in the United States with minimal light pollution. Additionally, Nancy Holt was a regular at the Montello cowboy bar during her trips to Utah in the development of 'Sun Tunnels.'


The installation will be installed in several different outdoor locations, both urban and rural.





Sunday, July 12, 2015

Summertimeshifting



Billy Kheel's Ephemeral and Enduring, 2015 in Guestroom


Neha Choksi's Shifting Limbs, 2015

Abe Lagrimas Jr. 


Emily Sudd's One of These Mornings, 2015




Ray and Remora




Kohl King's Beat/Fulmination, 2015



Anna Mayer's We've We're, 2015


David Prince's El Sereno Donuts, 2015



Deborah Aschheim's wireframe, 2015



Michael Ano's Wishing Well 2.0, 2015



Michael Ano Presents: UAG with Trevor Amery
Sound Performance by John Dombroski 
















Closing Performance by Nuttaphol Ma
Passages of our Inner Longing, 14 Jun - 28 Jun 2015 

Tuesday, June 16, 2015

summertimeshift: workshops and performance


Fountain Workshops organized by Michael Ano
Sunday, June 21: 2-4 PM Wishing Well
Sunday, June 28: 2-4 PM UAG
Performance by Nuttaphol Ma
Sunday, June 28 at 4 PM


WISHING WELL 2.0 with Michael Ano
Sunday, June 21: 2-4 PM
REVISIONS MUST SOMETIMES BE MADE.  Fountains have historically been a meeting place for friends, family, and lovers- being a vital source of fresh drinking water and sustaining life to the community. AS INDOOR PLUMBING BECAME MORE READLY AVAILABLE FOUNTAINS BECAME OBJECTS OF ARCHITECTURAL VANITY. For many early Europeans the fountain and its potable drinking water were a gift from the gods and so visitors would often leave offerings to appease or entice them. HOW DO WE APPEASE/ENTICE AN INFANT- MAKING BLIND OFFERINGS AND SHINEY DISTRACTIONS? Meditating on the tradition of throwing coins into a well Michael Ano asks: what is a wish? why do we dream? what do we wish for? are these wishes actualized? IF WE TELL OUR WISHES WILL WE BE UNFULFILLED?

Join Michael Ano for a conversation and workshop around wishing- contemplating its potential for small actions, a hope for a “better” future, personal gain, and other more sinister notions. After the workshop all offerings will be donated to a local charity.

In reaction to the funding cut and subsequent firing of staff and closure of UC San Diego's University Art Gallery by their current administration, Trevor Amery has liberated a four-foot by four-foot section of wall from the gallery and is continuing programming despite the loss of the historic physical space. This is not a singular event; it is one of several gestures in reaction to an ethos of institutional ignorance, favor for the valuation of private sector concerns over cultural development, and lack of transparency currently being experienced within the university art world.

UAG with Trevor Amery
Sunday, June 28: 2-4 PM

The UAG is now a mobile gallery focused on maintaining "an ongoing commitment to innovative forms of public programming, exhibition, and public intervention. It incorporates artistic and organizational practices that both include, and expand the terrain beyond, the traditional process and form of the art exhibition." (text quoted from the University Art Gallery webpage on UCSD's website)

Trevor Amery invites artists and curators to contact him and submit proposals at UAGcontact@gmail.com.


Passages of our Inner Longing a performance by Nuttaphol Ma
Sunday, June 28: 4 PM

As part of summertimeshift, Nuttaphol Ma activates the crawl space underneath the Summercamp House with a video installation of a lemongrass’s journey from the inner sounds of a cave dwelling to the sea. Ma’s cultivation of store-purchased lemongrass back to life from 01 Mar 2015 - 01 Apr 2015 navigates the process of becoming. The exhibition closes with Ma’s performance of transplanting the lemongrass into a hand-crafted plant bed within the Summercamp grounds.

summertimeshift runs from June 14th—June 28th, 2015
Featuring works by:
Michael Ano
Deborah Aschheim
Neha Choksi
Kohl King
Nuttaphol Ma
Anna Mayer
David Prince
Emily Sudd
and Billy Kheel in Guestroom

Hours by appointment, please contact 

Tuesday, June 2, 2015

summertimeshiftsummertimeshiftsummertimeshift

Summercamp's ProjectProject 3119 Chadwick Drive, Los Angeles, CA 90032
summertimeshift June 14th—June 28th, 2015
Michael Ano
Deborah Aschheim
Neha Choksi
Kohl King
Nuttaphol Ma
Anna Mayer
David Prince
Emily Sudd
and Billy Kheel in Guestroom



Opening Reception: Sunday June 14th 5-8PM
Musical Guests: Ray & Remora, Abe Lagrimas Jr.

Fountain Workshops organized by Michael Ano
Sunday, June 21: 2-4 PM Wishing Well
Sunday, June 28: 2-4 PM UAG
Performance by Nuttaphol Ma
Sunday, June 28 at 4 PM

Hours by appointment, please contact summercampprojectproject@gmail.com

final for email.jpg

Summercamp's ProjectProject presents summertimeshift. An outdoor group exhibition bringing together artists whose work has a shifting relationship to time, be it through sands of the hourglass, endurance, clashing of past and present, memory, or comedic timing. Organized by Fatima Hoang, Elonda Billera Norris & Janice Gomez.


Building on her history of producing ceramic sculpture through analog firings that function as relational ritual and social gatherings, Anna Mayers contribution to summertimeshift incorporates objects pit fired on-site at Summercamp prior to the exhibition’s opening. At each step Mayer’s sculptural process emphasizes the idea of absorption, moving from private, intuitive object making to outdoor fireside reverie. The final wrought steel and ceramic sculpture diagrams the artist’s consciousness about her fluxuation between states of soaking up and spellbinding. Nuttaphol Ma also invites us to enter into a transformation beginning with a lemongrass’s journey from the inner sounds of a cave dwelling to the sea. Ma’s month long cultivation of store-purchased lemongrass back to life navigates the process of becoming. The exhibition closes with Ma’s performance of transplanting the lemongrass into a hand-crafted plant bed within the Summercamp grounds.


Deborah Aschheim constructs a landscape of continual development, renovation and demolition, except in Aschheim’s city there are no buildings, only the ghosts of transparent scaffolding. A reminder of entropy and potentially mortality within the utopian promises of architecture in our city of perpetual newness. Neha Choksi's work explores loss and absence in various ways. Her work for summertimeshift will use as her starting point a chopped down dead apple tree found on site.


Kohl King’s Beat/ Fulmination, a large bundle of used drumsticks tethered by a thick dark grayed braid made from various embroidery threads and yarns in a striking reference women’s work and standards of beauty. The discarded drumsticks show their wear and tear as old keepers of various time measures. They now hang beating against one another and passersby when they are activated by movement. This work is about age and aging, about hearing one's own inconsistent and eventual fading beat. The durational project of David Prince, entices us into another version of a fading, looping beat. A toy hummer doing donuts in the backyard lot at Summercamp. El Sereno Donuts, will run during the opening and remain as an installation for the course of the show.


Combining discarded ceramic objects in structures that engage with still life, narrative, and abstract painting, Emily Sudd’s sculpture challenges hierarchies of materials and taste and the role of the kitsch object. Interested in the transformative qualities of context and process, she collects and arranges various ceramic items and subjects them all to the same firing conditions, with surprising results. For summertimeshift, Sudd has produced a new piece inspired by Summercamp’s C├ęzannesque landscape vista. Michael Ano’s fountain as a site of social practice with a series of workshops throughout the run of the exhibition. Two fountains will pour water back and forth between them as we gather around them sharing ideas, engaging in conversations, and creating community.


And as a compliment to summertimeshift, Billy Kheel will be featured in Guestroom. A field of felt Succulents and Signs, inspired by actual Los Angeles strip mall signs, explores the transitory nature of community over time in ever-changing Los Angeles. The succulents are prehistoric and appear to exist outside of time. Together the Signs and Succulents, transposed into felt, explore the complexity of space and time in L.A..

During the reception, we will host two musical guests. Abe Lagrimas, Jr. will be playing solo on his `ukulele. Predominantly known as a drummer, Abe is highly proficient on the vibraphone and the `ukulele and continues to perform throughout the world on all three instruments and in many different musical situations. Ray & Remora will be performing an acoustic set based on their album of covers, 1994. Check out their music video here.