Tag Archives: Maxi Kim

This Ain’t A Happenin’

10 May

-IMMEDIATE RELEASE-

San Francisco, CA
This Ain’t A Happenin’: Transient Acts & Documents A Production of Beaubourg268 & the Slete Orcha Exploratory

Curator: Erenberg

Artists:  Sean Clute, Justin Faris, Jenny Galipo, Aimee Goguen, Jessica Gomula-Kruzik, Robert Hansen, Maxi Kim, Bunny Lampert, Jeff Mclane, Chris Peters, Josue Rivera, Katie Shapiro, Erenberg

When: Saturday May 22nd 2010 – 8pm – 1am

Where: Beaubourg268, San Francisco, CA.

Admission: $Donations (contributing artists Free Admission)

Guests: Contributing Artists and those Attending may bring up to 3-5 guests

What: BBQ/Open Bar/BYOB/Bring your own Pillow/Bonfire Madness

This Ain’t A Happenin’: Transient Acts & Documents

What might one say of a harbinger? The son of neither steed nor pursuivant. The weight of all things- as one’s personal experience with endurance and survival- may bring one’s concerns to a rather diluted state of cognizance. “This Ain’t A Happenin’ “ will discuss topics both imperative, yet coincidentally immutable. This will the S.O.E.’s 3rd bi-annual exhibition, as we present 13 fertile mishaps & honorable collaborations. We welcome you to an adventure in video, sound, illustration, photography, sculpture, text, and performative acts- held at the newly established Beaubourg 268.

What to Expect! Film Screenings will occur in the main bedroom at midnight. If you are planning on staying the night, please bring your own pillow- we have plenty of blankets available. Video Installations & Projections begin at 9pm. Music & chimney collaboration begin at 11pm, in the backyard den & the living room. Manifestos will be handed out throughout the evening of the event. Don’t forget to sign our guest/mailing list at the door!

Biographies of Exhibiting Artists

Aimee Goguen

Aimee Goguen is a video artist & documentarian born in born Spanaway, Washington. She is currently in post-production on her second feature film- since the completion of her BFA at California Institute of the Arts. At any given length, her work confronts psycho-sexual dillusions & investigations in video, illustration & animation. She currently resides in Southern California.

Sean Clute

Sean Clute is an inventor of video, sound, installation and
performance. He has built and performed in suspended pods, geodesic
domes and cacophonic sonic environments. Currently, Clute lives in
Berkeley California where he is Co-Artistic Director of DOUBLE VISION
and frequently feeds his neighbor’s hungry cat.

Jenny Galipo

Jenny Galipo a San-Francisco based artist who works across the fields of photography and text. She is currently working on her photographic ‘At Home’ series, and documenting current collective experiences through creative writing.

Josué Rivera

With a spectacular eager face and wonderful teeth, I hold no identity; hence my work revolves around dimensions of anticipation, space and generality. The Place, even a poetic, a gesture or an oracular sentence that carries with it an escape, or belief as a wager or thought as contradiction.

Erenberg

Erenberg encourages playing with your food, at all times. Over the past decade she has worked across a variety of media- including full scale photographic installations, and live performative video feeds. He/she conducts observations in memory, hallucinations, familial issues & other ‘distractions’. Her interpretations on human/animal psycho-social behaviorial disorders and hypnagogia, allow room to explore privy mental territories.

Jessica Gomula-Kruzic

Artist Jessica Gomula-Kruzic’s intermedia installation work employs the use of animation and video sequences projected into large scale installation environments which elicit viewer interaction and participation. Her work has been exhibited extensively both nationally and internationally, in traditional and non-traditional settings. She is professor of Time Based Media at California State University, Stanislaus.

Vitamin Wig C

Vitamin Wig C started out between circuitrist Aaron Spafford and polluted water analyst Robert Hansen, in 2004. Vitamin Wig C plays on vocal prosody, electric porpoise calls and non-stinky techni-color stool samples from famous cartoon characters in the Yucatan Peninsula. Hansen is also the founder and creator of Astral Abuse Video Productions. His most recent video and illustration works can be viewed in the latest issue of the LA released magazine, Penne Ante.

Maxi Kim

MAXI KIM is the author of One Break, A Thousand Blows. His writing has been compared to the visual art of Richard Prince, Wallace Berman, and the films of Sofia Coppola.

Chris Peters

Chris Peters, faculty and director of the Video facility in the Program in Art at CalArts , is a Los Angeles-based multi-media artist . He has had one-person shows at Mario’s Furniture Gallery, Office Space, and Sundown Salon in Los Angeles. Co-wrote with John Wagner “Pre-post-erous” -a review of “La Jettee-Cine Roman” on the Electronic Book Review His work has also been shown in numerous group shows and film festivals such as Scott Donovan Gallery, Sydney, Sundance, LA Freewaves, NY Underground, Cinema Texas, CINEVEGAS, Cohen Leslie & Brown NY and Rosamund Felsen LA. and Barnsdal Art Park LA.

Bunny Lampert
Bunny Lampert majored in Photography and Media at California Institute of the Arts. She currently lives in Memphis, Tennessee making small sculptures and collecting light.

Jeff Mclane

Jeff McLane is an artist living and working in Los Angeles, California. Born in Oklahoma, his photographic works have focused on rural land function, urban landscape and image capture technology. He received his BFA from California Institute of the Arts (CalArts), and is an active contributor of the Los Angeles based art collective From Here To There. Recent exhibitions include New Works, Bandit Gallery, 2009 and From Here To There presents From Here To There,Synchronicity Gallery, 2009.

Justin Faris

Justin Faris is a multimedia artist, born and raised in Southern California. From his paintings to his performative works, Justin explores the inner dialogue of social construct, and its relation to personal psychology as a basis for true ontology. His perspective of art in it’s relation to cultural pertinance and identity define his apprehension of spacial relativity- as the presence of myth as artifice. Justin spends his time traveling throughout the socio-cultural topography of California, and Puerto Vallarta, alongside his dog Bodie.

Katie Shapiro

Katie Shapiro is a Los Angeles based photographer. Born and raised in LA, she started photographing at age 13 when her father put a 35mm Nikon camera into her hands. She went on to earn her BFA in photography from the California Institute of the Arts. After graduating she created the local art collective, From Here to There, with fellow students. She no longer shoots with the Nikon her father gave her, but continues to photograph with a passion and to exhibit her work widely.

About Beaubourg268 and the Slete Orcha Exploratory

Beaubourg268 is a live/work space, ever so recently located in the South Bay San Francisco, CA 94132, Phone N/A-EMAIL ONLY. Gallery hours are by appointment only. For information on how to Apply for our Artist Residency Programme, Attend a Workshop, or to make a Donation: TheBeaubourg@Hotmail.com

The Slete Orcha Exploratory is an exhibition and performance group, for the investigative & meditative arts, founded in Oakland, in 2007. Neither Slete nor Orcha, are words that can be defined- as a basis relative to our group’s modus operandi. Events are held at Beaubourg268, and other venues around California, London, and your own backyard. In terms of future collaborations & events- we encourage individuals to express freely in their own medium. Furthermore, we stress the caliber of teachers as students and students as teachers themselves.

Founded & Created byz:  Maxi Kim – Editor, Interviews, Manifestos.  Erenberg– Curator, Reviews,  Video, Events Coordinator. Jenny Galipo – Perspective & Activities Coordinator. Robert Hansen – Editor, Reviews & Video Coordinator.   Josue Rivera – Website & Projects Management

A Communist Utopia?

23 Feb

A Beaubourg268 Workshop & Extensive Explorative

A Communist Utopia?
Sunday 1 – 3:10pm  

Instructor: Gina Clark                           

Office Hours: Wed 8am – 2pm,  San Francisco.
Email: sledovane_fotografie@hotmail.com

QUOTE HERE

Course Summary

According to the filmmaker Jiri Menzel,  

This course will combine Marx’s fundamental mistake that a new, higher social order (Communism) is possible – and run with it, not by reading Marx, but by making an 8 foot paper mache Karl Marx bust, as shown in Dusan Makavejev’s Sweet Movie (Criterion Collection) (1974). Weekly screenings of para-Communist flicks such as Sweet Movie will hopefully underline the point that Marxian Communism destroyed and inspired so many different countrires; nevertheless, this bodily notion of a society of pure unleashed productivity outside the frame of Capital (a body without organs as Deleuzians would say) is still operative in maintaining Albert Meister’s utopian vision of the beaubourg – a place that acts as both the ideal art school and the perfect Commune (a Tarkovskyian zone where all of your authentic desires become actualized).

Virtually everyone today “knows that” Communism was the central catastrophe of the XXth century – but how many of us “knows how” to repeat Marx’s mistake – to sensually actualize unbridled productivity as something that is ultimately independent of the concrete capitalist social formation? We are all too aware that an 8 foot, gray, paper mache sculpture of the head of Marx will not resuscitate Marxian Communism – nor would we want to; nonetheless, we’d like to not only celebrate Marx – but underline the influence of a certain Marxian Communism in cinema and the utopian symbolic order.

Today it is

Tentative Film Screenings

Oblomov (KINO Video) (1979), Nikita Mikhalkov(Director), 142 mins (M. also directed Burnt by the Sun)
Capricious Summer (Facets Video) (1967), Jiri Menzel (Director), 74 mins,                                                           Closely Watched Trains (Criterion Collection) (1966), Jiri Menzel (Director), 93 mins.                                       Skrivánci na niti ( Larks on a String ) (1969), Jiri Menzel (Director).
The Flat (Kimstim Collection) (1968), Jan Svankmajer (Director), 13 mins.
Stalker (Russian Cinema Council) (1979), Andrei Tarkovsky (Director), 163 mins, color.
Sweet Movie (Criterion Collection) (1974), Dusan Makavejev (Director), 98 mins, color.
WR: Mysteries of the Organism (Criterion Collection) (1971), Dusan Makavejev (Director), 85 mins, color.
The Omega Man (1971), Boris Sagal (Director) Color
XXY (2007) , Lucía Puenzo (Director), 86 mins, color                                                                                                           The Firemen’s Ball, (1967), Milos Forman (Director), 73 mins.

Course Requirements
– Faithful attendance / meetings and office hours negotiable
– Regular weekly viewings

General Policies
1. Attendance: Absences may be offset with meetings and office hours
2. Office hours: Please feel free to contact me so we may arrange an alternate time to meet.

Provisional Schedule
TBA

AN OPEN INVITATION TO THE PUBLIC / 18 NOV

19 Nov

If you live in the bay area, and you are at all interested in joining, or even contributing something to our little beaubourg – we invite you to leave a comment on our Beaubourg 268 blog (below). Beaubourg 268 is located  at the southern periphery of the San Francisco Peninsula. Adjacent to San Francisco State Universiity, the institution’s new home is a modest two story residential building that hopes to attract educators and students alike. The ground floor contains a small garden, sound studio, and outdoor planning areas; the second floor holds a small archive-library, along with lodging accommodations.

Most of the artists and thinkers in Steven Henry Madoff’s new big book, Art School suffer from one of two opposing superstitions: either art schools are the new business schools preparing designers and emerging artists for the real world, or art schools are the new pockets of resistance and reform informing social stakeholders for the real world challenges of global consumer capitalism. As a literary terrorist, one of whose concerns is the future of art school, I sometimes am asked: “Which theoretician should I know?” To their astonishment, I have yet to reply to them with the usual French names: Baudrillard, Deleuze, Derrida, Foucault, etc. Rather, I’ve tended to answer with one of two names: Gina Clark & Robert Hansen.

Gina Clark was born and raised in Southern California. Over the past decade she has worked across a variety of media including performance, film, photography, installation, and curating. Within these practices, the desert-based CalArts graduate has supported the preservation of the innovative and exploratory arts; always mindful of the fact that we are living in an age dominated by Domesticity & Artifice.  Robert Hansen is a sound artist, visual artist, writer and founder of the renowned group Mini Voyeur. From its initial formation, the group was exploring properties in speech, sound and acoustics; all the while, infusing humor in to the concepts of music, memory and logic. Robert has maintained an extended library of recorded audio and video documents created with the help of friends and family.

The newly established Beaubourg 268 will offer the public a series of classes, projects and improvisational “adventures” that remain more or less outside the existing coordinates of art schools such as Cal Arts and Goldsmiths. Under its co-founder Gina Clark, her weekly Carnal Knowledge workshops will stress the emancipatory potential of performance, as it relates to issues as varied as familial piety, animal welfare, and Czech cinema. Students, if they so desire, will have an opportunity to work with Clark’s nonprofit group, Unsichtbar Birnbaum Exploratory. Sound artist Robert Hansen will offer weekly workshops to appreciate the visual arts, through the lens of sound, music, or voice. I will offer bi-monthly ‘Reading’ Slavoj Zizek group seminars to provide theoretical supplement for those emerging artists who desire it. To the degree that art schools can play a “revolutionary” role today, I will attempt to open up a space in which isolated Japanese youths and North Korean defectors can be heard.

As the art teacher John Baldessari put it “[I]f you’re lecturing in a class and there’s a car crash outside, you better bring that car crash into what you’re saying or you’ve lost them.” It is from this perspective that the crucial first step, for us, is to foster an informal classroom environment that treats art as both a past-time and a means for exploration. To the degree that students may indeed require a postpostmodern vocabulary, Beaubourg 268 firmly believes that what students need most is the unconditional permission to use everything in the world, including their own naivete, fears, and desires.

Beaubourg 268 will be comprised with approximately fifteen students from the surrounding area who are diverse in terms of their backgrounds, ages, and aspirations. We invite every one – no matter what your age or artistic background – to participate in the fun. Ideally, we here at the beaubourg want to learn from you as much as you might learn from us. An informal meeting is set for Tuesday, 19 January 2010. The official opening is set for mid-February.

AN OPEN LETTER TO HOMELAND SECURITY / OCT 25

26 Oct

Dear U.S. Department of Homeland Security, I write to you today on an urgent matter. I received news this morning that several hundred copies of my novel One Break, A Thousand Blows (BookWorks 2008) have been effectively destroyed and likely banned in the United States by US customs, to fulfill CBP’s dual mission of “preventing terrorists and terrorist weapons from entering the United States, while also facilitating the flow of legitimate trade and travel.” I do not want to make any final judgments, as I am not aware of all the facts at the moment; I would immensely appreciate clarification and answers on this issue. So far neither U.S. Customs and Border Protection nor the Department of Homeland Security have been of much help.

According to my editor Stewart Home, two weeks ago “an attempt to sell titles in [his] Semina series at the New York Art Book Fare had descended into farce because the books had been impounded by US customs. Book Works told [him] they’d flown from Europe to America to sell the novels, but ended up manning an empty table. The publications have now disappeared and may have been destroyed; from New York any unsold copies should have gone on to a distributor in Los Angeles, but there is still no sign of them on either the east or west coast. . . . Word on the grapevine is that the Semina books were impounded because a US customs official took a look at [Mark Waugh’s novel] Bubble Entendre and decided it was a blue-print for a terrorist attack on the 2012 Olympic Games.”

What was this official’s name? What was his exact reasoning? If this was indeed the case, why was my novel additionally impounded along with Mark Waugh’s book? One Break, A Thousand Blows has its measure of obscenities, pornography and shock – but nowhere does it justify, let alone condone terrorism. If anything I am a literary terrorist. Moreover, why was Jana Leo’s Rape New York impounded? And why were copies of Bridget Penney’s Index impounded? An innocuous title – no? For myself, Penney’s book was the para-literary equivalent of a Richard Serra masterpiece. How could any one, even a government official, see anything terrorizing in it?

Speculations here abound: my Goldsmiths colleague in London thinks the title itself One Break, A Thousand Blows was too connotative of a terrorist plot. That and the fact that the enigmatic cover was colored Communist red with many depictions of wigs (as in disguises). And it probably didn’t help that at the beginning of the book I quoted a phrase from the Bernadette Corporation: “People want to be someone. But the really exciting challenge is to become no one. And where will you find no ones? In nowhere. Where things are exploding.”

A long pause. On second thought (in a parallax way), I can’t really blame US customs for doing what they ultimately did. I can well imagine an average, naive customs official (let’s imagine him to be completely unaware of the avant-garde) coming across the Semina series – totally baffled, and reading something like Bridget Penney’s Index as a highly elaborate coded index on weapons of mass destruction. If all of this seems a bit farfetched, I hate to think what might really be behind the conspiracy; in a word – censorship.

These days I find myself thinking more and more about Kathy Acker’s Blood and Guts in High School, considered her most popular and best-selling novel – the story is seemingly about Janey Smith, a ten-year-old American girl who has an incestuous sexual relationship with her father, who is also her boyfriend, brother, money, and amusement. Blood and Guts was banned in Germany, and I can’t help but feel that the authorities in New York effectively banned Jana Leo’s Rape New York for similar Blood and Guts reasons concerning taste and decency. Rape New York is a book about a real case in January 2001 where Leo herself was held hostage and raped during the course of an afternoon in her New York apartment. Perhaps the pulping of Kim, Penney and Waugh was simply collaterol damage, incidental to the conservative backlash against Leo.

Wherever the truth lies, we here at the New School for Social Research, San Francisco are all tickled pink by it. And if in the end it turns out that this was all just an elaborate media hoax by Arts Council England (like the recent “bomb threat” publicity stunt at Cooper Union for Slavoj Zizek’s new book) – I don’t think I’ll have any regrets on the way that I approached this topic. As Kathy Acker put it, “I think the best thing in cases of censorship or things like this is to get as much media as possible.”

Yours sincerely, Maxi Kim, Beaubourg 268.