Galería Perdida: I want to blush f**kers, JOAN, Los Angeles, (October 8–November 20, 2016)

October 8–November 20, 2016

Patent drawing for the Hot Pick Comb, Newbern R, July 3, 1973.
Patent drawing for the Hot Pick Comb, Newbern R, July 3, 1973.

Inspired by an unexpected encounter with the display of a French wooden comb from the 15th century at the Philadelphia Museum of Art, Galería Perdida will present the project I want to blush, f***ers, a collection of approximately 20 walnut wood hair combs custom mounted onto blush-hued wooden tiles. Galería Perdida deliberately designed each of the combs from techniques  that range from graphic design to tradtional style with a number of them abstracted to the point of illegibility.

As an object, the comb is a utilitarian device that functions without notice in daily life. Its various forms and materials of construction rarely associate the object with its historical value, connection to prestige, or cultural affiliation. Combs were one of the first objects discovered by archaeologists in the tombs of ancient Egypt—dating back about 5,000 years—and their production continued largely in China, Cuba, Mexico, Spain, and the Philippines. The process of making combs by hand required an intense craftsmanship particularly in the cutting of the teeth. It was not until the 18th century that combs were popularized with the development of fabrication techniques, making combs more ornamental and symbols of luxury and high fashion.

The shift in the accessibility of combs as ornate accessories of aesthetic appearance on the body gave the objects greater exclusivity. Currently, these combs exist as artifacts in the collections of many international museum institutions, displayed and contextualized by museological structures.

Galería Perdida was established in Chilchota, Michoacán in 2005. The collective currently lives and works in Brooklyn, New York. Exhibitions include: And Per Se And, Commonwealth and Council, (2016) and Routine Pleasures, MAK Center for Art and Architecture, (2016); Zelda Zonk, Preface Gallery, Paris, (2013); Somos fabricantes de alimentos en cuero and Todo la memoria del mundo, Casa del Lago Juan José Arreola, Mexico City, (2013); Let’s Smell it Together, CUE Foundation, New York, (2013); El carne de burro no es transparente, Luckman Gallery, Los Angeles, (2012); and Matryoshka, Recess Activities, New York, (2011).

Galería Perdida: I want to blush, f***ers is organized by Gladys-Katherina Hernando

Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Installation view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Detail view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Detail view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Detail view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Detail view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Detail view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Detail view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Detail view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.
Detail view of Galería Perdida: I want to blush, f***ers, 2016, JOAN vitrine, Los Angeles, Photo by Jeff McLane.

 

JOAN
4300 West Jefferson Boulevard #1
Los Angeles, California 90016
joanlosangeles.org

Clarissa Tossin: Encontro das Águas (Meeting of Waters), JOAN, Los Angeles, (October 8–November 20, 2016)

October 8–November 20, 2016

Meeting of Waters confluence between the dark water of the Rio Negro with the sandy-colored Rio Solimões in the Amazon River, Manaus, Brazil. Photo credit: José Caldas/ BrazilPhotos.com / Alamy Stock Photo.
Meeting of Waters confluence between the dark water of the Rio Negro with the sandy-colored Rio Solimões at the Amazon River, Manaus, Brazil. Photo credit: José Caldas/ BrazilPhotos.com / Alamy Stock Photo.

JOAN is pleased to present Clarissa Tossin: Encontro das Águas (Meeting of Waters), a delicate and ambitious large-scale installation. Combining the basket weaving patterns of the indigenous Baniwa people, native to the Brazilian Amazon, with satellite images depicting the 900-miles (1,448 kilometers) of the Amazon River from the Manaus Basin (or Port of Manaus) in Brazil to its equatorial drainage point in the Atlantic Ocean, Tossin will exhibit an enormous tapestry whose cuts and weaves evoke the divide between two systems of representation–cultural and ideological—that exist in Manaus itself.

Located within the Amazon rainforest in the Northern region of Brazil, Manaus, the capital city of Amazonas, is situated at the confluence of the Rio Negro (Black River) and the Rio Solimões. The two rivers connect with the Amazon River at the Port of Manaus, where for 3.7 miles (6 kilometers), their nearly black and beige colored waters flow parallel to each other without joining, until the two rivers stream into the Atlantic Ocean.

For her exhibition at JOAN, Tossin weaves the cut strips of the tapestry in opposing directions creating visual breaks in the pattern to depict the physical and political fragmentation of the river and its surroundings. This psychic movement mimics the routes of consumer goods, materials, and people in the region. At the scale of 50 feet long x 4 1/2 feet wide (15.24 meters x 1.37 meters), the piece drapes over the ceiling beams in the gallery and reveals its bilateral construction before curling downwards onto the floor and across the length of the space.

In 1957 Federal Deputy of the Brazilian government Francisco Pereira da Silva (1818–1985) legally amended the city of Manaus into a “Porto Franco” or Free Trade Port, an area where goods and products from the Amazon could be stored. In 1960 the port was designated a Free Trade Zone (ZFM – Zona Franca de Manaus) and by 1967 its surrounding areas were formally extended to 6,200 square miles (16,057 kilometers). This mass deregulation lured foreign business interests with tax incentives, reduced and nearly obliterated laws protecting the deforestation of the Amazon rainforest, and offered an enormity of landmass to commercial, industrial, and agricultural industries.

Currently, Manaus is the headquarters of various consumer production plants, including Apple, Sony, LG, Panasonic, Coca-Cola, Pepsi-Cola, Honda Motorcycles, Harley-Davidson, and Yamaha Motorcycles, among others. Under the ZFM, the Port of Manaus, with its direct access to the open Atlantic Ocean, is the lifeline of these foreign corporations and a detriment to the Amazon rainforest. The consequences of massive international exchange on the natural and vulnerable corridor of the Amazon River contributes to the deterioration of the rainforest, and severely impacts the habitats of indigenous cultures in the region.

Using terra cotta, the traditional material used by the Baniwa people to make pots, urns, food containers, and other earthenware, Tossin merges these spaces of contradictory and contentious terrian with objects cast from a selection of mass produced products in the region. In contrast to the fragmentation of the tapestry, the terra cotta melds a fundamental material of an ancient Amazonian cultural history with replicas of consumer objects, making visible the production and circulation of consumer goods while stripping them of their intended function.

Clarissa Tossin earned her BFA in 2000 from Fundação Armando Álvares Penteado in São Paulo, Brazil, and her MFA in 2009 from California Institute of the Arts, Los Angeles. She was awarded a Residency Fellowship at Fundação Joaquim Nabuco in Recife, Brazil, (2015), and an Emerging Artist Fellowship from the California Community Foundation, (2014). She participated in Artpace, an international artist-in-residence program in San Antonio, Texas, where she developed and exhibited the multimedia installation Brasília, Cars, Pools and Other Modernities, (2013), which was later included in Made in L.A. 2014, (2014), at the Hammer Museum, Los Angeles. Some of her solo exhibitions include the Museum of Latin American Art, Long Beach, (2015); Samuel Freeman Gallery, Los Angeles, (2015); Galeria Luisa Strina, São Paulo, (2014); Blaffer Art Museum, University of Houston, (2013); and Sicardi Gallery, Houston, (2013). She has participated in group exhibitions including, Trans-Americas: A sign, A situation, A concept, Museum London, Ontario, (2016); United States of Latin America, Museum of Contemporary Art, Detroit, (2015); Unsettled Landscapes, SITE Santa Fe, New Mexico, (2014); Bringing the World into the World, Queens Museum, New York, (2014); and When Attitudes Became Form Become Attitudes, CCA Wattis Institute, San Francisco, (2012); among others.

Clarissa Tossin: Encontro das Águas (Meeting of Waters) is organized by Gladys-Katherina Hernando.

Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin: Encontro das Águas (Meeting of Waters), 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin, Zona Franca de Manaus, 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin, Zona Franca de Manaus, 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin, Zona Franca de Manaus, 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Installation view of Clarissa Tossin, Zona Franca de Manaus, 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin, Zona Franca de Manaus, 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin, Zona Franca de Manaus, 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin, Zona Franca de Manaus, 2016, JOAN, Los Angeles, Photo by Jeff McLane.
Detail view of Clarissa Tossin, Zona Franca de Manaus, 2016, JOAN, Los Angeles, Photo by Jeff McLane.

JOAN

4300 West Jefferson Boulevard #1
Los Angeles, California 90016
joanlosangeles.org

Nick Bastis and Nick Raffel, JOAN, Los Angeles, (June 18–July 24, 2016)

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Nick Bastis and Nick Raffel
June 18–July 24, 2016

JOAN is pleased to present an exhibition of works by Nick Bastis and Nick Raffel. For the duration of the exhibition, the gallery will be open Friday – Saturday, 2pm–8pm, and Sunday, 12pm–6pm. Nick Bastis and Nick Raffel is organized by Gladys-Katherina Hernando.

Nick Bastis (b. 1985) has exhibited at the XII Baltic Triennial; Cartoon Physics, Kerstin Engholm, Vienna; Regards, Chicago; and Catherine Bastide, Brussels.

Nick Raffel (b. 1982) has exhibited at Pied-a-terre, San Francisco. Raffel lives in Chicago, Illinois.

JOAN is a not-for-profit space for talks, performances, screenings, solo projects, and vitrine shows with a focus on emerging and under-recognized artists. JOAN is co-founded by Summer Guthery, Gladys-Katherina Hernando, and Rebecca Matalon.

JOAN
4300 West Jefferson Boulevard #1
Los Angeles, California 90016
joanlosangeles.org

Jill Spector: The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray, JOAN, Los Angeles, (September 12–July 11, 2015)

September 12–July 11, 2015

Vitrine, JOAN, Los Angeles

In an installation of the JOAN vitrine, Los Angeles artist Jill Spector composes sketches and templates for the imagination of an idealized theater space. Inspired by a similar proposal for her installation Cutlets III included in the publication SchindlerLab.org, this piece explores themes of practice and theatricality through various unrealized forms. The vitrine is transformed into a stage made of wood and marble, while templates for lighting allude to a darkened set. Her soft and hard sculptures hint at a dance floor where the movement of invisible bodies and hands exist on a floating platform; sculptures that are also an amphitheater.

Photo-Joshua_White-jwpictures.com-0004-copy-819x1024 Installation view of Jill Spector, “The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray,” JOAN, Los Angeles, Photos by Joshua White.Photo-Joshua_White-jwpictures.com-0007-copy-1024x683Installation view of Jill Spector, “The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray,” JOAN, Los Angeles, Photos by Joshua White.Photo-Joshua_White-jwpictures.com-0011-copy-1024x683 Installation view of Jill Spector, The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray, JOAN, Los Angeles, Photos by Joshua White.Photo-Joshua_White-jwpictures.com-0018-copy-1024x683 Installation view of Jill Spector, The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray, JOAN, Los Angeles, Photos by Joshua White.Photo-Joshua_White-jwpictures.com-0021-copy-1024x683 Installation view of Jill Spector, The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray, JOAN, Los Angeles, Photos by Joshua White.Photo-Joshua_White-jwpictures.com-0023-copy-682x1024 Installation view of Jill Spector, The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray, JOAN, Los Angeles, Photos by Joshua White.Photo-Joshua_White-jwpictures.com-0032-copy-1024x683 Installation view of Jill Spector, The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray, JOAN, Los Angeles, Photos by Joshua White.Photo-Joshua_White-jwpictures.com-0041-copy-1024x683Installation view of Jill Spector, The Editor’s President: Models and Mock-Ups for Elaine May, Nora Kaye, and Eileen Gray, JOAN, Los Angeles, Photos by Joshua White.