dayoutlast: June 2018

SIDE ROOM:

Electric Data Wave Serenade/Dissolving the Rock, 2017-18

Three-channel video installation

Dimensions Variable

Channel 1 of 3:

stills from HD Video, color, sound

TRT: 13 minutes

Cast body sleeping with Friendly Plastic and sand, nylon fabric, gator board, grommets

Approx. 44 x 58 x 13.75 in

Earthquake Performance, 2018

Aggregate of Friendly Plastic and earth from Death Valley

Approx 30.5 x 60 x 27 in (77.5 x 152.4 x 68.6 cm)

Channel 2 of 3:

still from HD Video, color, silent

TRT: 5 minutes, 19 seconds

Channel 3 of 3:

stills from HD Video, color, sound, 5 min, 19 sec, cast resin rock molded from a rock in Topanga Canyon, projector, speakers

Approx. 13 x 30 x 24 inches

MIDDLE ROOM:

Data-Mind Geo-Phonics, 2018

CNC'd wood data fragment, PLA plastic data fragments, Bronze data fragment, wood, paint, wooden mallet

Road Trip Interpolation, 2017-18

Sculpture with video

Dimensions overall: 48 x 70.5 x 136 inches (121.9 x 179 x 345.4 cm)

Single-channel HD video, color, sound, 5 min 22 sec

Animation traveling through EEG date of 5 seconds of dreaming

and

Cast resin rock molded from a volcanic rock in Death Valley, projector, speakers

Approx. 11.5 x 27 x 16 in (29.2 x 68.6 x 40.6 cm)

and

Wall cast from a CNC'd interpolated image of a rock from Zabriskie Point, aggregate of Friendly Plastic and earth from the same rock at Zabriskie point

Approx. 48 x 70.5 x 20 in (121.92 x 179 x 50.8 cm)

5 Seconds of Dreaming (aggregate), 2017-2018

Cast aggregate molded from a 3D printed landscape derived from 5 seconds of EEG date made of resin and sawdust from CNC's data fragment, sand, enamel paint, welded steel, spray paint

Approx. 60 x 96 x 96 in (152.4 x 243.8 x 243.8 cm)

Like the last show of Katie Grinnan's that I saw at LA><ART in March of 2016 (see here), the elements of the installation were challenging to parse. That said, this exhibition seemed to clarify significantly more so how layers interact and reflect one another between material and less tangible conditions, namely energy waves as it applies to earth, human body, motion, and how things become other things, or at the very least reflect one another. cf. How earth samples bear striking resemblances to body surfaces, wave contours, and even digital imagery, organic irregularities all!

Body, mind, matter and technology are certainly integrated as one matrix within this installation. How is not exactly clear and the checklist does not exactly help, as the overlapping and layering effects of works persist to the dismay of any kind of linear check-listing. This, in my opinion, is an important value of this work, that things relate and are not always what they seem though strongly connected, certainly structurally. While the viewing experience and the checklist are at odds, it in no way compromises the value of the primary viewing itself. Navigating with uncertainty as a viewer somehow aligns with the video subject who navigates wavy mountains or occasional, visual delays with the sculpture which moves in parts like actually seeing rates of digital decay, the rise and fall of actions.

Having built a conversation surrounding the analog and the digital, the wave and the step, the contour and momentary sample, this installation/installations evolves what I was seeing previously within such terms in Grinnan's work. To show you what I mean, I thought about the following ones, how they simultaneously/continuous (virtually contiguous?) situate with one another, both stacked and extended.

Nocturnal Hologram, 2015

Sand, Friendly Plastic, inkjet prints on protoplast made from photograms of dream images

48 x 63 x 46 inches

@LA><ART

Mirage, 2011

Friendly plastic, enamel, and sand

79 x 63 x 72 inches Installation

View at the Hammer Museum, 2013 | Photo: Brian Forrest

Image result for katie grinnan armory center for the arts

Shipwreck, 2003

Photos on foam, cellpaint, enamel, and dirt

82 x 38 x 87

@ Armory Center for the Arts

dayoutlast

Saturday, June 30, 2018

Paul Kremer in "Texas" Curated by Matthew Brown @ Philip Martin Gallery

Deborah Hede "SLINKY" @ Shoot the Lobster | Los Angeles

Becca Man "Protea" @ Ghebaly

Maria Thereza Alves in "Bounty" @ Grice Bench

Reena Spaulings "The Male Gates" @ Matthew Marks | Los Angeles

Saturday, June 23, 2018

Irene Grau "Construction Season" @ Madison Museum of Contemporary Art

Saturday, June 16, 2018

Katie Grinnan "Electric Data Wave Serenade" @ Commonwealth and Council