Dara Birnbaum has questions. Where did my irony go? How can I question and address our current political and environmental state through art? After viewing over an hours worth of early single channel works at Human Resources in Chinatown on February11th, I asked her if she liked disco music. Her response was, “Do you?” I was born in the seventies so I did not experience disco through contemporary pop culture.
Seeing Komische Oper and 1927’s staging and production of Mozart’s Magic Flute that continues at the Dorothy Chandler Pavillion through December 15th, 2013 was like going to Disneyland for the first time with my friend who broke his leg: we went to the front of the line for every ride. Any future outing to see a different iteration of the Magic Flute or visit to the magic kingdom will pale in comparison. The leitmotif of L.A. Opera’s U.S. Premiere of The Magic Flute remains the same but the projected infrared visual animations add levels of glee, anxiety, physical dexterity, and energy that must be absent from any other productions.
While experiencing Lucy Guerin’s WEATHER at UCLA’s Royce Hall on October 4th, 2013 I thought, “This is something historic, a dance and choreographic piece of wonder, to me at least.” I am growing into contemporary dance viewing adolescence. Now, I can pinpoint one choreographer’s influence on another. I have yet to see, however, anyone master synchronic memory in such a mesmerizing continuity quite like the dancers in Guerin’s company. The impetus for Guerin’s WEATHER is to expose and unite nature’s violence and power onto the stage or black box with expressive, human movement.
The current group show at Matthew Marks galleries in West Hollywood is an example of carefully and attentive curatorial mastery. Granted, the artists in the exhibition are some of the most highly regarded in the world. But, grouping 5 established artists does not always make exciting visual relationships. Here, the middle room in the main gallery houses two sculptures, a painting and a photograph that seem to communicate all possible angles of visual dialogues and formalities by presenting moving lines, shapes compositions, colors that any outstanding exhibition in history has attempted to present to the viewer.
L.A. Opera’s recent Mod Night at the Opera event on June 5th outside the Dorothy Chandler Pavilion was a valiant effort on the part of the marketing and PR departments to attract a wider audience to the opera. Although there were only five Vespas and two Lambretta’s on view on the plaza, the stunning motobikes and their knowledgeable owners provided a nice addition to the standard operatically informative talks that take place inside prior to the performance.