CYPRESS COLLEGE GALLERY
Summercamp’s Project Project: Fall Residency I
Panel Conversation & Closing Reception:
non locality and the transference of space, energy and memory
Thursday, October 28, 4—6PM
Panel begins at 4:15 in Room CCPLX216
Organized by Fatima Hoang, Elonda Billera, & Janice Gomez
Carol Cheh
David P. Earle IV
Douglas Rompasky
Christian Tedeschi
Liza Wade Green
Moderated by Tarra Stevenson
A closing panel conversation: non locality and the transference of space, energy and memory moderated by Tarra Stevenson, writer & educator will include panelists: Carol Cheh, performance art writer, David P. Earle IV, artist, writer & educator, Douglas Rompasky, nomadic computer programmer—traveling for the past two years around the world on his bicycle, Christian Tedeschi, the artist representative of the current exhibition, and Liza Wade Green, performing artist who will be at Summercamp for a residency at the end of October.
Tarra Stevenson is a language lover. She utilizes the generative device of constraintbased penning whenever possible. She creates written nonsense. Her work deals directly with the topic of creation of text and writing anxiety, specifically writing anxiety in attempting to write the female body, the “ot(her).” In utilizing purposeful and repeated grammatical and spelling errors as metaphors for the evolution of the writing process, she hopes to achieve this anxiety. It is through the creation of the text that the reader can fully appreciate the synthesis and evolution of the text, as well as that of the characters.
Writing the female body is an endeavor that as a conversation deals with its antithesis: not writing the female body; writing the female body in terms of the “other,” the male body, or the heteronormative body; or, writing the body in the language of the “other.” In her interpretation of a woman battling an androcentric world, the textual anxiety isrepresentative of such a battle. Its circularity, its roundness, is directly opposed to a linear, male constructed writing. The language is as close to the opposite of phallocentric language as possible, in that because it is spelled and used incorrectly, and yet the meaning is still coherent, the language has attempted to be wiped of its male-ness. In subverting the language at its roots, its very basis, she is attempting to subvert its dominance and heteronormativity. The words, therefore, are themselves symbols of the male dominant culture, turned upside down by consistent inconsistencies in their use. The (revisionary) structure of the story also allows for the possibility of alternate and endless storylines, again subverting the typical linear narrative structure.
She dabbles in screenwriting as well. She and her writing partner Jenava Hudek have completed Summerʼs Eve: A Lifetime Spoof and are currently at work on their next totally outrageous project. Her most current work is a novel based on Security Mom and the constraints women place on themselves -- an American form of female-circumcision. She encourages her students to break all the rules of grammar. You can contact her via her blog Heavy Meta, thisisnotheavymetal.tumblr.com.
Carol Cheh is a writer and curator based in Los Angeles. She is the founder of Another Righteous Transfer!, a blog devoted to documenting LA's performance art scene. Her curatorial projects have included You Don't Bring Me Flowers: An Evening of Re-Performances (POST, 2010) and Signals: A Video Showcase (Orange County Museum of Art, 2008). She also served as exhibition coordinator for Tubular!, a show of CSU Long Beach MFA candidates curated by Doug Harvey (Pacific Design Center, 2010) and has diverse work experience at a number of museums, including SITE Santa Fe and MOCA. Carol is currently working on her master's thesis in art history, which deals with mutated notions of authorship in the work of new media artist Ryan Trecartin.
David P. Earle is an artist, writer and educator who lives in Los Angeles. Recent projects include "Open Arms," a puppet theater / video peep show created for the "The Real Show" at Summercamp Project Project (Los Angeles) and "The Distracted Drawing Station," an interactive installation at the Armory Center for the Arts (Pasadena, CA). He is the editor of "The Open Daybook" a compilation of original artwork by three hundred and sixty five artists to be released by Mark Batty Publisher in October, and curator of an exhibition by the same name which will be hosted by Los Angeles Contemporary Exhibitions (Los Angeles) in January 2011.
Douglas Rompasky graduated University of Hawaii with a degree in Computer Science and immediately jumped into the work force in Honolulu—did that gig for four years or so and saved up some money. After a while Romapsky decided it wasn't the right thing for him, quit his job and decided to travel around the world on a bike. He spent a year in New Zealand followed by five months in South East Asia, on to Europe and finally riding from Boston to Seattle down to Los Angeles; just in time to participate in the panel.
Christian Tedeschi, one of the artists in the current exhibition, has exhibited his work extensively in the Los Angeles area. In addition to creating work, he is a co-founder of Object Orange, a community services organization in Detroit and has also organized shows with Phantom Galleries in Long Beach. Tedeschi teaches Sculpture at California State University Northridge.
Liza Wade Green is currently an artist in residence at Summercamp creating a site specific performance work to be produced next season. While completing her degree in Interdisciplinary Studies from Long Island University’s Friends World Program, Liza studied conflict resolution in Northern Ireland, worked with children in Nicaragua and Costa Rica, and developed a bi-lingual youth theatre program in Wilmington, North Carolina. In London, Liza was a member of Soho Theatre’s Young Writers Program and studied acting at the Tricycle Theatre.
Since moving to Brooklyn in 2003, Liza has worked extensively in New York’s downtown theatre community. She is a member of The Stolen Chair Theatre Company where she has collaboratively created and performed in six original works including: Kill Me Like You Mean It, Kinderspiel, Commedia dell’ Artemisia, The Accidental Patriot, Theatre is Dead and So Are You, and Quantum Poetics. She has been a collaborator/performer in Phil Soltanoff’s Sit, Stand, Walk, Lie Down on Governors Island and Gemini Collision Works’ George Betaille’s Bathrobe at the Brick Theater. Her original plays have been seen at San Francisco State University, Soho Theatre in London, and the Academy Theatre in SC.
Liza has worked as a teaching artist for Creative Arts Team, The New York Student Shakespeare Festival, and Vital Theatre Company. She has also managed the Grants and Services department at Lower Manhattan Cultural Council where she led professional development workshops and helped to assist hundreds of New York artists and arts organizations to receive public funding.
Summercamp is a home in the neighborhood in El Sereno, Los Angeles designed and built by Al Kaelin in 1950. The homemade modern house, full of pass-throughs and secret spaces, currently functions as an artist live/work space and hosts Project Project. Founded by Fatima Hoang, Elonda Billera, and Janice Gomez, Project Project showcases exhibitions, performances, lectures, workshops, screenings and events by activating multiple parts of the property—installing works in the sloping backyard, projecting videos on the living room ceiling, and showcasing musical performances in the old goat pen.
For Fall Residency I, the eight artists, Chelsea Dean, Justin Michell, Gina Osterloh, Julie Schustack, Christian Tedeschi, Bari Ziperstein, Corinne Kamiya, and Falcon Eddy, propel this energy by building an interpretation of Summercamp’s Project Project inside the gallery; pulling from past exhibitions, honing the history of the house, and making it mobile.
*image Julie Schustack, Fruit Fly Trap, 2010. Paper, glue, plastic water bottle, ceramic,12 x 6 x 6 inches
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