dayoutlast is a record of my direct engagement with mostly contemporary art, mostly Los Angelean.

As this blog has evolved since its 2010 inception, so has my perspective. What I once perceived as central within the investigation was what was central, literally, within the photographic frame that I shared here. While still an important consideration, such thinking has also given way to more peripheral considerations, ones also accompanied occasionally by text (written manifestation of thought) and the oscillations between them. What's missing here are larger unknowns surrounding issues of presentation and representation; the amount of time and space it actually takes to accomplish such first-hand observations; and the quandaries between documentation and interpretation.

Despite my attempt to communicate here with image and text what is essential in some respect about the artwork, neither representation should ever be considered a substitution for the primary viewing experience. Of course, occasionally there are exceptions.

Most of the time, these posts are merely remnants---residual fragments---from my last day out.

Saturday, December 16, 2017

Video Art in Latin America @ LAXART

Gisela Motta, Leandro Lima & Claudia Andujar
Yano-a, 2005
Mixed media installation
Dimensions Variable

Joiri Minaya

Siboney, 2014
TRT: 10:04 minutes

Plumerias (after Siboney), 2017

Carlos Trilnick
Viajando por America (Traveling Through America), 1990
TRT: 4:18 minutes

Sonia Andrade
Sem titulo (Untitled), 1974-1977
TRT: 53:05

If PST 2.0 wasn't enough to challenge our ability to see and absorb a vast network of artists and productions, this show in and of itself was a perfect microcosm.  It also occurred to me that this show could have been titled, California Video 2.0 as well. So many continuations from Getty-sponsored initiatives.

Aside from the whole show, which was a real commitment of time in and of itself, so were the individual works.  One could have spent days here.  A long afternoon sufficed.  Within this blog, I include a handful of the most accessible works. Alas, I do not cover the vast array of time-based works, the ones that were on reels and "reels" of collected works by specific artists and common artists. Many of them warranted their own screening times and locations (and should have).

These few caught my eye despite some of the shortcomings within the actual viewing space. How to get SO much work into a modestly-sized venue?  Good question and decently answered by the curators at large. 

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