redcat winter/spring 2012 season

Roy and Edna Disney/Calarts Theater

Calarts’ downtown center for innovative

visual, performing and media arts

in The Walt Disney Concert Hall complex

CalaRTs pREsEnTs

Winter/spring2012

Wunderbaum, Songs at the End of the World

Theater–Multimedia

February 2–4EaRlY MORnInG OpERa: ABACUS

Art

February 5–april 1MING WONG: MAKING CHINATOWN

Film/Video–Jack H. Skirball Series

February 7MUsIC + IMaGEPresented as part of Pacific Standard Time

Conversations–Film/Video

February 8 CHOUInaRD: an OVERTURE

Music–Multimedia

February 10–11CEaIT FEsTIVal

Conversations

February 12THE MaGIC OF sOlIDaRITY: sHaHRnUsH paRsIpUR anD sUHEIR HaMMaD


February 13lEE annE sCHMITT: THE LAST BUFFALO HUNT

Music

February 15–16JOHn CaGE CEnTEnaRY FEsTIVal

Music–Theater

February 17–19MX JUsTIn VIVIan BOnD: LOW DOUBLE STANDARDS: AN ENTITLEMENT PROGRAM

Theater

February 23–26MaRIanO pEnsOTTI: THE PAST IS A GROTESQUE ANIMAL(EL PASADO ES UN ANIMAL GROTESCO)

Theater–Music–Alpert Award Artist

January 25–29RInDE ECKERT: AND GOD CREATED GREAT WHALES

January

February

paRKInGParking is available in the Walt Disney Concert Hall parking garage.OnlY $5 aFTER 8 pM On WEEKnIGHTs. $9 FlaT RaTE all DaY On WEEKEnDs.

lOCaTIOn 631 WEsT 2nD sTREET lOs anGElEs, Ca 90012Housed in the Walt Disney Concert Hall complex, REDCAT has a separate entrance at the corner of West 2nd and Hope Streets.

REDCaT: ROY anD EDna DIsnEY/CalaRTs THEaTERREDCAT is a multidisciplinary contemporary arts center for innovative visual, performing and media arts located in downtown Los Angeles inside the Walt Disney Concert Hall complex. Through performances, exhibitions, screenings, and literary events, REDCAT introduces diverse audiences, students and artists to the most influential developments in the arts from around the world, and gives artists in this region the creative support they need to achieve national and international stature. REDCAT continues the tradition of California Institute of the Arts, its parent organization, by encouraging experimentation, discovery and lively civic discourse.

REDCaT.ORG

CalaRTs: CalIFORnIa InsTITUTE OF THE aRTsCalifornia Institute of the Arts educates professional artists in a unique learning environment founded on the principles of artmaking excellence, experimentation, critical reflection and independent inquiry. Throughout its history, CalArts has sought to advance the practice of art and promote its understanding in a broad social, cultural and historical context. CalArts offers students the knowledge and expertise of leading professional artists and scholars and a full complement of artmaking tools. In return, it asks for the highest artistic and academic achievement. Reflecting its long-standing commitment to new forms and expressions in art, CalArts invites creative risk-taking and urges active collaboration and exchange among artists, artistic disciplines and cultural traditions.

CalaRTs.EDU

Winter/spring 2012

TICKETsREDCaT.ORG 213.237.2800 aT THE BOX OFFICE

The REDCAT Box Office is open Tuesday–Saturday, noon–6 pm, and two hours prior to curtain.

Seating at REDCAT is unassigned, and late seating is not guaranteed. Programs, schedules, prices and artists subject to change.

Music–Theater

april 14–15MY BaRBaRIan: pOsT-lIVInG anTE-aCTIOn THEaTER


april 16aWaKEnInG anD sEEInG: nEW FIlMs BY naTHanIEl DORsKY

Music

april 18–19nEW ZEalanD In l.a.

Art

april 22–June 17RIGO 23: AUTONOMOUS SPACE PROGRAM


april 23BIll MORRIsOn: MInERs, BRIDGEs, lOsT lOVE anD OTHER RETRIEVED TREasUREs

Music–Theater

april 28–29WUnDERBaUM: SONGS AT THE END OF THE WORLD


april 30THE IMaGInaRY VOYaGEs OF MaUREEn sElWOOD

Music–Film/Video

May 1TRANSPARENT CITIES

Film/Video–Family

May 5–13REDCaT InTERnaTIOnal CHIlDREn’s FIlM FEsTIVal


May 7CInE pOVERa: MEXICan EXpERIMEnTs In 16MM

The Sharon Disney Lund Dance Series

May 16–20aRCanE COllECTIVE: COLD DREAM COLOUR


May 21nEW DaY aT 40: a COMMUnITY’s CElEBRaTIOn

spECIal CalaRTs EVEnTs aT REDCaT

Film/Video

May 2–5CalaRTs FIlM/VIDEO sHOWCasEs


May 11–12THE nEXT DanCE COMpanY

Conversations

May 13CalaRTs WRITERs sHOWCasE

Family–Theater

May 25–26Cap/plaZa DE la RaZa YOUTH THEaTER


March 2–11MaRTín aCOsTa: TIMBOCTOU

Dance

March 9–11ROnalD K. BROWn/EVIDEnCEPart of Glorya Kaufman Presents Dance at the Music Center


March 22DanIEl EIsEnBERG:THE UNSTABLE OBJECT

Music

March 23FRanCEs-MaRIE UITTI

Music

March 24CalIFORnIa E.a.R. UnIT: FROM SILVER APPLES TO A SKY OF CLOUDLESS SULPHUR: REVISITED Featuring Morton subotnick

Dance–Theater–Music–Multimedia

March 31–april 1sTUDIO spRInG 2012


april 2naRRaTIVE BODIEs: FIlMs anD VIDEOs BY aBIGaIl CHIlD

The Sharon Disney Lund Dance Series–Theater

april 5–8DaYna HansOn: GLORIA’S CAUSE


april 9sHaROn lOCKHaRT: DOUBLE TIDE

Music–Multimedia

april 12–13KaRMETIK MaCHInE ORCHEsTRa: SAMSARA

sTaY COnnECTEDSign up to receive our brochures and weekly email updates for the latest information on REDCAT events, special offers and more.

REDCaT.ORG

Find us online at: CalaRTsREDCaT

Music–Multimedia

June 14paRTCH


June 24–25sTUDIO spRInG 2012


June 28–July 1nTaRE GUMa MBaHO MWInE: A MISSIONARY POSITION

Art

July 8–september 2JAY CHUNG & Q TAKEKI MAEDA

april

april

May

JuneMarch

RInDE ECKERT AND GOD CREATED GREAT WHALESHailed as “total magic” by The New York Times, this Obie Award-winning work of groundbreaking music-theater is a morbidly funny and deeply moving operatic journey into the psyche of an eccentric composer as he desperately tries to complete his final opus: an opera based on Melville’s Moby-Dick. Alpert Award-winner Rinde Eckert’s tour de force performance draws the audience into the haunted world of Nathan, whose struggle against mental deterioration forces him to rely on a tape recorder worn around his neck in place of a working memory, as his obsession with the opera becomes as total as Ahab’s quest for the white whale. Masterfully directed by David Schweizer and featuring the vocal magic of original cast member Nora Cole, these performances mark the return of Eckert’s seminal 2000 off-Broadway production, which prompted critics to cite such diverse references as Bertolt Brecht, Samuel Beckett and Tom Waits.

WED Jan 25–saT Jan 28, 8:30 pMsUn Jan 29, 3:00 pM$20–25 [STUDENTS $16–20, CALARTS $10–12]

Theater–Music–Alpert Award ArtistJanuary 25–29

“It made me feel alive at a time when little in the musical theater does.” VILLAGE VOICE

“One is overwhelmed by the power of quest and loss and by the beauty of the music.” THE NEW YORK TIMES

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TICKETs: 213.237.2800redcat.org

EaRlY MORnInG OpERa ABACUSFresh from performances at the Sundance Film Festival, award-winning director and media artist Lars Jan and his company Early Morning Opera employ the latest in high-tech wizardry to explore the seductive power of multimedia persuasion, including TED-style presentations and video-enhanced megachurch events. Abacus introduces media visionary and cult icon Paul Abacus, who is given a platform to expound on such theories as a re-imagining of Buckminster Fuller’s fabled Geoscope as a new “data cathedral” for the masses and a call for a world without national borders. Part pitchman and part sermonizer, Abacus is magnified by a team of live video Steadicams and large-scale projections in this genre-defying, visually immersive production that was first staged at REDCAT’s New Original Works Festival and has since won national praise.

THUR FEB 2–saT FEB 4, 8:30 pM$20–25 [STUDENTS $16–20, CALARTS $10–12]

Theater–MultimediaFebruary 2–4

“Changing the world one multimedia performance at a time.” MODERN PAINTERS

“Mind-bendingly creative.” PHILADELPHIA CITY PAPER

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MING WONG: MAKING CHINATOWNOpEnInG RECEpTIOn: saTURDaY, FEBRUaRY 4, 6–9 pMBerlin-based Singaporean artist Ming Wong has been regarded internationally for his ambitious performance and video works that engage with the history of cinema and popular forms of entertainment. Working through the visual styles and tropes of such iconic film directors as Rainer Werner Fassbinder, Wong Kar-wai and Ingmar Bergman, Wong’s practice considers the means through which subjectivity and geographic location are constructed by motion pictures. For his first solo exhibition in Los Angeles, Wong creates a series of video sculptures and scenic backdrops that center around the making of Roman Polanski’s seminal 1974 film Chinatown, with the artist cast as two of the film’s central characters. Filmed on location in the Gallery at REDCAT, Making Chinatown transforms the exhibition space into a studio backlot and examines the original film’s constructions of language, performance and identity.

Funded in part with generous support from Alan Hergott and Curt Shepard.

sUn FEB 5–sUn apR 1TUEs–sUn, nOOn–6 pM OR InTERMIssIOnFREE

ArtFebruary 5–april 1

Ming Wong, Making Chinatown (study), 2011, courtesy the artist

Ming Wong, Four Malay Stories, 2005, four-channel video installation, 25 min, courtesy the artist

Ming Wong, Angst Essen /Eat Fear, 2008, single-channel video installation, 27 min, courtesy the artist


CHOUInaRD: an OVERTURECo-presented by Igigi Studios

As the history of contemporary art in Los Angeles is brought to the forefront by institutions across the city by the Getty Foundation’s Pacific Standard Time initiative, CalArts President Steven D. Lavine hosts an evening dedicated to one of the great early forces in the emergence of Los Angeles as an international art center: the Chouinard Art Institute—founded by Nelbert Murphy Chouinard in 1921, and CalArts’ predecessor institution. Joining the discussion are Chouinard alumna Alice Estes Davis, a renowned costume designer noted for her exceptional work with Walt Disney, and Gianina Ferreyra, a filmmaker currently creating a documentary about Chouinard’s founder and her influential art school. In conversation with invited guests, Estes Davis and Ferreyra share perspectives on Chouinard, and its significant impact on the arts in Los Angeles. Illuminating selections from Gianina’s documentary-in-progress are screened as part of the evening.

WED FEB 8, 8:30 pM$10 [STUDENTS $5, CALARTS FREE]

MUsIC + IMaGEpREsEnTED as paRT OF paCIFIC sTanDaRD TIME In the early 1980s, many artists were excited by the possibility of showing video art on television— a promise that was broken by commercialism. This selection of short videos takes inspiration from the spirit of Ernie Kovacs, television impresario and music lover, as it highlights some of the era’s most compelling video art accompanied by music. By turns humorous, pensive, or even abstract, the works are drawn from screenings and exhibitions at the Long Beach Museum of Art, and include artists Bob Snyder; Cynthia Maughan; Dara Birnbaum; Philip Mallory Jones; Tom DeWitt, Vibeke Sorensen, and Dean Winkler; Cecelia Condit; Toni Basil and David Byrne; Max Almy; Kit Fitzgerald and John Sanborn; Laurie Anderson; Claus Blume; MICA-TV (Carole Ann Klonarides and Michael Owen); Zbigniew Rybczyński; and Henry Selick.

In person: Curator Nancy Buchanan

Presented in conjunction with Exchange and Evolution: Worldwide Video Long Beach, 1974–1999, at the Long Beach Museum of Art.

Funded in part with generous support from the Getty Foundation and the Academy of Motion Picture Arts and Sciences.

Part of Pacific Standard Time. This unprecedented collaboration, initiated by the Getty, brings together more than sixty cultural institutions from across Southern California for six months beginning October 2011 to tell the story of the birth of the L.A. art scene.

TUEs FEB 7, 8:30 pM$10 [STUDENTS $8, CALARTS $5]

February 8

February 7


Conversations–Film/Video

“What happened with pop videos is pathetic: they could have become a really interesting new field of cinematic activity.” Gilles Deleuze

Ming Wong, Making Chinatown (study), 2011, courtesy the artist

Imagine, Zbigniew Rybczyński

Nelbert Murphy Chouinard, courtesy of Karen Laurence

Chouinard courtyard circa 1931. Photo by Will Connell

MaGIC OF sOlIDaRITY: sHaHRnUsH paRsIpUR anD sUHEIR HaMMaDTwo courageous authors have fiercely insisted on voicing consciousness and social criticism: novelist Shahrnush Parsipur and poet Suheir Hammad. Parsipur’s most famous works, Touba and the Meaning of Night and Women without Men, use fabulism and history to portray women’s sexual and intellectual agency; both are banned in her native Iran. The latter novel has been filmed by artist Shirin Neshat. Hammad, a Palestinian born in Jordan, emerged in the ’90s on HBO’s Def Poetry Jam. The author of the collections Breaking Poems and Born Palestinian, Born Black, she is known for her impassioned lyricism and commitment to social justice. Parsipur and Hammad are joined by editor and scholar Persis Karim, who moderates this evening devoted to creative conviction linking nations, genres, and generations.

sUn FEB 12, 7:00 pM$10 [STUDENTS $5, CALARTS FREE]

CEaIT FEsTIValWORlD pREMIEREsThis season’s iteration of the festival from the CalArts Center for Experiments in Art, Information and Technology (CEAIT) brings the debut of Thomas Ankersmit’s new piece composed expressly for the vintage Serge analogue modular synthesizer, originally developed by Serge Tcherepnin at CalArts in the 1970s. A composer and installation artist, the Dutch-born, Berlin-based Ankersmit has become known for abstract, intensely focused electroacoustic work using hyper-kinetic synth and computer improvisation. CEAIT Festival kicks off with “Noise Night,” featuring L.A.’s own Damion Romero and the pairing of noise pioneers Zbigniew Karkowski and Xopher Davidson.

“Ambient Night” follows on Saturday, with Ankersmit’s Serge composition followed by zerfall_gebiete, the duo of electronic ambient soundscape veterans Thomas Köner and Ulrich Krieger.

Funded in part by a grant from the City of Los Angeles Department of Cultural Affairs and supported in part by public funds from Dutch Cultural Services (New York). Thomas Köner’s appearance is made possible by Goethe-Institut Los Angeles.

FRI FEB 10–saT FEB 11, 8:30 pM$20 [STUDENTS $16, CALARTS $10]

Music–Multimedia February 10–11

February 12Conversations

“parsipur navigates skillfully between the extremes of mainstream discourse and overt opposition.” WORLD LITERATURE TODAY

“[Hammad] is the embodiment of the global reach of feminism.”

Gloria Steinem, NEW YORK MAGAzINE

“ankersmit constructs a musical world that feels alive and capable of going anywhere.” THE WIRE

“ankersmit wrangles his material beautifully… with a deft touch and a canny sense of timing.” DUSTED

Thomas Ankersmit. Photo by Angeline Evans

Thomas Köner, courtesy the artist

Suheir Hammad, courtesy the author Shahrnush Parsipur, courtesy the author


JOHn CaGE CEnTEnaRY FEsTIVallOs anGElEs pREMIEREsCelebrating the 100th anniversary of John Cage’s birth, REDCAT hosts two nights of rarely played music—some of which is performed for the first time in Los Angeles. The New Century Players, the Herb Alpert School of Music at CalArts’ professional new music ensemble, joins forces with the CalArts Orchestra to open the festival with a program of large-scale pieces by the American visionary, including 103 and Fifty-Eight—each title referring to the required number of performers. The New Century Players center the festival’s second evening on the Cage’s seminal graphic score Fontana Mix—a telling example of the composer’s fascination with the ideas of indeterminacy, chance, and silence. In addition to the original Fontana Mix tape music composition itself, the program consists of instrumental group works composed using the Fontana Mix score by James Tenney, David Behrman, Cornelius Cardew, and others responding to Cage’s benchmark.

WED FEB 15, 7:00 pM–THURs FEB 16, 8:30 pM$20 [STUDENT $16, CALARTS $10]

February 15–16

Music


lEE annE sCHMITT THE LAST BUFFALO HUNTlOs anGElEs pREMIERE | 76 min., HDCAM, 2010For five years, filmmaker Lee Anne Schmitt and her collaborators followed Terry Albrecht, a guide-for-hire for hunters who want to kill buffalo. Yet Albrecht is tired; his livelihood is threatened by the rising cost of gasoline, and the mystique of the West has become a commodity for nouveaux riches—like the couple posing in Santa costumes in front of their trophy, or the woman who switches pleasures from shopping sprees to insulting a buffalo that wouldn’t die fast enough. The film ends on a melancholy sequence, in a hokey wax museum, where cowboys and buffalo alike become ghosts. In the West, it is the legend that is printed, not the history—because history is repeated twice—once as slaughter, the second time as pageantry.

In person: Lee Anne Schmitt

Curated by Steve Anker and Bérénice Reynaud.

Funded in part with generous support from the Academy of Motion Picture Arts and Sciences.

MOn FEB 13, 8:30 pM $10 [STUDENTS $8, CALARTS $5]

“The new Century players perform with wonted skill and poise; one hears the music and doesn’t worry about the very real difficulties of executing it.” LOS ANGELES TIMES

February 13

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John Cage at CalArts

CalArts New Century Players

MX JUsTIn VIVIan BOnDLOW DOUBLE STANDARDS: AN ENTITLEMENT PROGRAMThe ragingly multitalented Mx Justin Vivian Bond commands the REDCAT stage with a hilarious, heart-wrenching cabaret show with original music from the critically hailed debut recording Dendrophile, guileful covers of songs by Kate Bush, Joni Mitchell, LCD Soundsystem, and others—and no small amount of biting political satire. Nominated for a Tony Award as one-half of Kiki and Herb Alive On Broadway, the artist, aka V, has toured with the avant-garde performance troupe Big Art Group, and appeared in John Cameron Mitchell’s sex romp Shortbus. V is also the author of the memoir Tango: My Childhood, Backwards and in High Heels and recently presented the solo exhibition The Fall of the House of Whimsy at Participant Inc. in New York City. Mx Justin Vivan Bond is accompanied by a live band featuring pianist Thomas Bartlett.

FRI FEB 17–saT FEB 18, 8:30 pMsUn FEB 19, 7:00 pM $25 [STUDENTS $25, CALARTS $25]

Music—Theater February 17–19

“artful, gender-bending, truth-telling illusionist... The greatest cabaret artist of [a] generation.” Hilton Als, THE NEW YORKER

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“pensotti has a fine facility with irony, with the fine balance between comedy and tragedy and, most of all, with the ability to capture an epic psychosis in an unpretentious nutshell.” BRITISH THEATRE GUIDE

MaRIanO pEnsOTTITHE PAST IS A GROTESQUE ANIMAL (EL PASADO ES UN ANIMAL GROTESCO)A large-scale revolving set magically transforms into dozens of different locales as a quartet of characters tracks a decade of love, loss and adventure in this internationally acclaimed work from Argentine writer-director Mariano Pensotti. In a fast-paced, multilayered “mega-fiction,” The Past follows the evolution of its complex characters as Argentina’s economy collapses and their lives and hopes take unexpected twists and turns. Pensotti avoids sentimental stereotypes at the same time that he reveals a generation’s self-regard with emotional profundity and searing humor. Ingeniously, the circular set is in near-constant motion, allowing for key moments of the drama to be foregrounded until they recede from view, reminding the characters—and us—how quickly a given moment can turn into a distant fiction only to emerge again.

In Spanish with English subtitles.

THURs FEB 23–saT FEB 25, 8:30 pMsUn FEB 26, 3:00 pM $20–25 [STUDENTS $16–20, CALARTS $10–12]

February 23–26

Theater

“Blisteringly funny...a compelling portrait of the self-obsession of his own generation that achieves that rare feat of profoundly moving an audience.” PLAYS INTERNATIONALp

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Theater –Multimedia

MaRTín aCOsTa TIMBOCTOUPresented by CalArts Center for New Performance in association with Duende CalArts and UDG Cultura

WRITTEn BY alEJanDRO RICañODIRECTED BY MaRTín aCOsTa

Strangers find their lives suddenly intertwined by acts of violence and corruption in Timboctou, a wryly humorous and provocative new play written by Alejandro Ricaño and set against the volatile backdrop of the Mexican drug wars and intense border politics. This world premiere production imagines Timboctou as a mysterious, unreachable refuge at the end of the earth, and illustrates the narrow line between victim and victimized.Celebrated Mexico City director Martín Acosta leads a binational cast and creative team for this highly visual multimedia work, a unique collaboration between the CalArts Center for New Performance and its bilingual theater initiative Duende CalArts and the University of Guadalajara’s Cultura presenting organization.

In Spanish and English with subtitles.

pREVIEW: FRI MaR 2, 8:30 pMsaT MaR 3, 8:30 pMsUn MaR 4, 7:00 pMTUEs MaR 6–FRI MaR 9, 8:30pMsaT MaR 10, 3:00 & 8:30 pMsUn MaR 11, 3:00 pM$20–25 [STUDENTS $16–20, CALARTS $10–12]

March 2–11

“a dialogue of gazes between artists from Mexico and the Usa...with the powerful flight of imagination.” Martín Acosta

“[acosta is] one of the most important creators of theater in Mexico.” EL INFORMADOR

Costume studies for Timboctou by designer Mario Marín del Río

TIM BOC TOU


Dance

Music

ROnalD K. BROWn/EVIDEnCEPresented at the Ahmanson Theatre at the Music Center

Glorya Kaufman Presents Dance at the Music Center welcomes the return of world-renowned choreographer Ronald K. Brown, whose company Evidence made its Los Angeles debut as part of a co-presentation at REDCAT in 2008. With a distinct integration of traditional African dance and contemporary choreography, the program includes the West Coast premiere of On Earth Together, set to the music of Stevie Wonder, as well as Brown’s acclaimed Grace, which is in the repertory of Alvin Ailey American Dance Theater.

Tickets and information at musiccenter.org

FRI MaR 9–saT MaR 10, 7:30 pM; sUn MaR 11, 2:00 pM

FRanCEs-MaRIE UITTIWORlD pREMIEREsThe supremely gifted cellist Frances-Marie Uitti makes a rare Los Angeles appearance for the debut of Michael Jon Fink’s new cello concerto, written especially for her pioneering technique of playing with two bows simultaneously, and chamber ensemble. Known for a prodigious career of dismantling longstanding musical boundaries, Uitti follows with another world premiere, Greg Moore’s new work for “stringless cello,” a musical gesture controller developed at the Center for Musical Audio Technology at UC Berkeley. Rounding out the program are other contemporary works written for Uitti’s incredible interpretations.

Funded in part by a generous grant from the Argosy Foundation Contemporary Music Fund.

FRI MaR 23, 8:30 pM$20 [STUDENTS $16, CALARTS $10]

March 9–11

“Uitti has made a career out of demolishing musical boundaries… she might be the most interesting cellist on the planet.” WASHINGTON POST

DanIEl EIsEnBERG THE UNSTABLE OBJECTWhat do a luxury automobile, a wall clock, and a cymbal have in common? Daniel Eisenberg’s (Persistence, Something More Than Night) latest film, The Unstable Object (2011) is an elegant and visually sensual essay on contemporary models of production. Interested in the ways “things” affect both producer and consumer, Eisenberg travels to a Volkswagen factory in Dresden, Germany, where individualized cars are hand-built by high-tech specialists; to Chicago Lighthouse Industries, where blind workers produce wall clocks for government offices; and to a deafening cymbal factory in Istanbul, Turkey, where sought-after cymbals are cast and hammered by hand, exactly as they were 400 years ago. Through sequences sympathetic to each site and subject that highlight the senses of sight, sound, and touch, The Unstable Object quietly probes the relationships our global economy creates among individuals around the world.

In person: Daniel Eisenberg Curated by Steve Anker and Bérénice Reynaud.


THUR MaR 22, 8:30 pM $10 [STUDENTS $8, CALARTS $5]


March 22

photo by Julia Cervantes

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March 23

sTUDIO spRInG 2012Original, ambitiously offbeat performances by a lively mix of experimental Los Angeles performing artists are sure to inspire L.A.’s most adventurous audiences when REDCAT unveils the latest edition of its interdisciplinary series of new works and works-in-progress. Previously, Studio has featured such artists as Kathy Carbone and Vinny Golia, Sheetal Gandhi, Nataki Garrett, Los Angeles Electric 8, Marcus Kuiland-Nazario, Emily Mast, Miwa Matreyek, Hanna van der Kolk, Peres Owino, Poor Dog Group, Waewdao Sirisook, and Roxanne Steinberg and Steve Lockwood.

Funded in part by a generous grant from the National Endowment for the Arts.

saT MaR 31–sUn apR 1, 8:30 pM $15 [STUDENTS $12, CALARTS $8]


CalIFORnIa E.a.R. UnITFROM SILVER APPLES TO A SKY OF CLOUDLESS SULPHUR: REVISITEDfeaturing Morton subotnickThe Los Angeles new music high-fliers meet up with the godfather of techno Morton Subotnick for a live revisit to the electronic music pioneer’s iconic works, rendered with new technology. From the landmark Silver Apples of the Moon (1966) to A Sky of Cloudless Sulphur (1977), Subotnick worked with Buchla synthesizers and tape recorders to create new electronic works meant for the home environment—and later adapted his music for live performance. Now equipped with Ableton Live on his Mac and the new Buchla 200e, he performs with the E.A.R. Unit—collaborators since 1980—and draws on elements of Silver Apples and Sky in an evening of “spontaneous performance and decision-making.”

saT MaR 24, 8:30 pM $20 [STUDENTS $16, CALARTS $10]

Music March 24


naRRaTIVE BODIEs: FIlMs anD VIDEOs BY aBIGaIl CHIlDPoet, essayist and filmmaker Abigail Child sees her creations as a curious and particular intersection, often humorous, sometimes alchemical, between sound and image. Bodies, fetishes, symbols, icons and relics are reinvented and refitted to new realities and new desires. The total assembly is a movement metaphorically (with the ghostly re-emergence of Griffith on one side and on the other Eisenstein), and the images and poetic rhythms use stricture as a magnifying glass to uncover the lies and injustices of history. Child’s film cycle, Is This What You Were Born For (1981–89), is a landmark of contemporary avant-garde cinema, and her recent works continue to be widely shown and celebrated. Films include Peripeteia I, (1977), Perils (1986), Mayhem (1987), The Future is Behind You (2004–05), Mirror World (2006) and Ligatures (2009).

In person: Abigail Child



MOn apR 2, 8:30 pM $10 [STUDENTS $8, CALARTS $5]

april 2

March 31–april 1

“When the electronic composer Morton subotnick released ‘silver apples of the Moon,’ he seemed to be exploring a limitless world.” THE NEW YORK TIMES

“subotnick created a rich and, most important, musical blend of sonic attitudes, densities and textures.” LOS ANGELES TIMES

Morton Subotnick, courtesy the artist

Kristin Erickson, featured in Studio: Fall 2010

Mirror World

Mayhem


“sublime moments that make smart use of its talented cast.” SEATTLE TIMES

DaYna HansOn GLORIA’S CAUSEAs election-year politics heat up and the complexities of our nation’s history are given clashing revisions, this wildly inventive production inspired by the American Revolution takes on potent political charge. Celebrated choreographer and director Dayna Hanson blends live rock music, idiosyncratic dance and inventive theatrics to re-imagine key moments in American history, and creates a kinetic, darkly funny portrayal of the roots of America’s inequalities. With an incongruous movement style that incorporates gestures from professional sports and ’70s television, Hanson and her multidisciplinary cast smartly remix events that set a country in motion, and the motivations and meanings that continue to be debated today.

Funded in part with generous support from the National Performance Network (NPN) Performance Residency Program. Gloria’s Cause is an NPN Creation Fund/Forth Fund Project co-commissioned by On the Boards in partnership with Under the Radar and NPN. For more information visit www.npnweb.orgg

THUR apR 5–saT apR 7, 8:30 pM sUn apR 8, 7:00 pM$20–25 [STUDENTS $16–20, CALARTS $10–12]

april 5–8

“Enthralling and hilarious and beautiful and confusing in the certain way that only the best performances are.” THE STRANGER

The Sharon Disney Lund Dance Series–Theater

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KaRMETIK MaCHInE ORCHEsTRa SAMSARAWORlD pREMIEREBrilliant musicmakers are allied with fantastical robotic instruments in this paradigm-shifting performance that invokes “samsara”— the Sanskrit concept of the cycle of birth, life, death, and reincarnation—as the Machine Orchestra offers musical interpretations of several traditional Indian fables drawn from the Panchatantra and the Jataka Tales. Musicians, electro-mechnical instruments, dancers, and multiple speakers are dispersed in and around the audience for this “rebirth” of ancient morality tales in the technologically ingenious 21st century. Samsara is directed by Ajay Kapur and Michael Darling. Special guest artists include interactive electronic performers Curtis Bahn and Tomie Hahn, choreographer Raakhi Kapur and the legendary kinetic sculptor and musician Trimpin.

THUR apR 12–FRI apR 13, 8:30 pM$20 [STUDENTS $16, CALARTS $10]

Music–Multimedia

sHaROn lOCKHaRT DOUBLE TIDE16mm transferred to HD, color, sound, 93 min.In the wake of her cinematic meditations on the relationship between laboring bodies and their environment—NO (2003) and Lunch Break (2008), both shown at REDCAT—artist/filmmaker Sharon Lockhart positioned her camera in the wild coastal landscape of Seal Cove, Maine, a historic site for commercial clamming. Following the backbreaking efforts of clam digger Jen Casad, the film unfolds in two uninterrupted takes to capture the rare phenomenon of “double tide”—when low tide occurs twice during daylight hours, once at dawn and once at dusk. The splendid imagery is matched by a seductive sound track, bird chirpings mixed with the sound of wind, water and an invisible foghorn, interrupted just once by the digger’s lone, moving cry.

In person: Sharon Lockhart




april 9

april 12–13

“This moving meditation from the artist sharon lockhart is guaranteed to lower your blood pressure and recalibrate your mind.” THE NEW YORK TIMES

“KarmetiK Machine Orchestra mark[s] a giant leap toward a future when we might go to concerts to hear machines play.”

NEWSWEEK


“Occupies the liminal space between stillness and movement, and between actual time and subjective time.” Josh Siegel, MUSEUM OF MODERN ART

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“an astute cabaret of insight and satire…worthy of Voltaire.”

LA WEEKLY

MY BaRBaRIan: pOsT-lIVInG anTE-aCTIOn THEaTERWith knowing humor and carefully considered allusion, My Barbarian’s ongoing Post-Living Ante-Action Theater (PoLAAT) project interrogates counterculture theatrical forms of the ’60s and translates them into slyly subversive music theater of the moment. The irreverent Los Angeles trio of Malik Gaines, Jade Gordon and Alexandro Segade collaborates with a team of local performers to workshop and stage Post-Paradise, Sorry Now—using the five principles they have established for PoLAAT: Estrangement, Indistinction, Suspension of Beliefs, a Mandate to Participate, and Inspirational Critique. The culminating performance self-consciously employs improvisation, audience participation and the staging of social taboo as it references both the Living Theater’s utopian Paradise Now (1968) and Rainer Werner Fassbinder’s nihilistic critical response Pre-Paradise, Sorry Now (1969).

saT apR 14, 8:30 pM; sUn apR 15, 7:00 pM$20 [STUDENTS $16, CALARTS $10]

april 14–15

My Barbarian, Post-Living Ante-Action Theater, El Matadero, Madrid 2010. Photos by Becky Snodgrass

aWaKEnInG anD sEEInG: nEW FIlMs BY naTHanIEl DORsKYNathaniel Dorsky’s work draws from the very essence of cinema; he creates profound experiences that explore the world through images of extraordinary beauty, and a montage that subverts the descriptive and awakens mystery. Dorsky’s book Devotional Cinema is a modern classic on the poetics of the medium, and the thirteen films he has completed since 1996 have been widely acclaimed and featured at major film festivals and museums throughout the world. This program includes Pastourelle (2010), The Return (named by The New York Times as one of the best films of 2011), and the world premiere of August and After. An additional program of Dorsky’s films is presented at the UCLA Film and Television Archive.

In person: Nathaniel Dorsky Curated by Steve Anker and Bérénice Reynaud.



nEW ZEalanD In l.a.Master musician Richard Nunns, the world’s foremost authority on Māori music, is the special guest artist for a two-day celebration of New Zealand contemporary chamber and orchestral works and music for ngā taonga pūoro—traditional Māori instruments. The concerts feature compositions by Chris Cree Brown, James Gardner, Ross Carey, Samuel Holloway, John Psathas, and Gillian Whitehead. In addition to Nunns, whose work extends from avant-garde jazz to contributing to the soundtracks for films such as Whale Rider and The Lord of the Rings, the performers include clarinetist Gretchen Dunsmore and percussionist Chris O’Connor.

Detailed program information at redcat.org

WED apR 18–THUR apR 19, 8:30 pM$20 [STUDENTS $16, CALARTS $10]

“Richard nunns is a living legend... our musical guardian.”

THE PRESS, nEW ZEalanD

Music april 18–19

april 16


“Dorsky’s films are filled with images shot with a hovering camera, and there is something truly lyrical about their ephemeral beauty.”

THE NEW YORK TIMES

PastourelleThe Return

Richard Nunns. Photo ©2008 Radio New ZealandGretchen Dunsmore, courtesy the artist; Chris O’Connor, courtesy the artist


RIGO 23: AUTONOMOUS SPACE PROGRAMOpEnInG RECEpTIOn: saTURDaY, apRIl 21, 6–9 pMInitiated by San Francisco-based artist Rigo 23, Autonomous Space Program is an interdisciplinary collaboration with weavers, seamstresses, painters, carpenters, and cultural activists from Southern Chiapas, Mexico. Conceived as a series of sculptures and large-scale environments, Rigo 23’s project for the Gallery at REDCAT is the outgrowth of direct negotiations with the Good Government Junta of Morelia, Chiapas, developed around the theme “Another World, Another Path,” articulated in 2009 by the Zapatista Army of National Liberation (EZLN) at the First Global Festival of Dignified Rage—an event that marked the group’s fifteenth anniversary and underscored its belief in a utopia related to Mayan conceptions of the cosmos. Autonomous Space Program takes the form of a planetarium, in which constellations and spacecrafts based on the iconography and imagery of the EZLN are realized for the purposes of intercommunal and intergalactic dialogue.

Funded in part with generous support from the EDELO Residency Program, San Cristobal de las Casas, Mexico.

sUn apR 22 —sUn JUn 17TUEs—sUn, nOOn–6 pM OR InTERMIssIOnFREE

april 22–June 17

Art

Rigo 23, Autonomous Space Program – Corncob (Mazorca) Spaceship (production image), 2011–12,courtesy the artist and Gallery Paule Anglim, San Francisco

Autonomous Space Program, source image by Tomás, Morelia Caracol, Chiapas, 2011

Autonomous Space Program, embroidery from Municipio 17 de Noviembre, Morelia Caracol, Chiapas, 2011

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“an elegiac testament to the lost industrial culture of the Durham coalfields.” SIGHT & SOUND

BIll MORRIsOn MInERs, BRIDGEs, lOsT lOVE anD OTHER RETRIEVED TREasUREslOs anGElEs pREMIERE | The Miners’ Hymns, USA/UK, 52 min, 2011, HDSince The Film of Her (1996), award-winning filmmaker Bill Morrison has completed more than 20 experimental pieces in which he poetically and rhythmically reworks archival footage in various stages of preservation or decomposition. With The Miners’ Hymns, he teams up with Icelandic composer Jóhann Jóhannsson to celebrate the culture and political struggles of the Durham collieries in northeastern England. Weaving together stunning black-and-white footage from the early 1900s through to the massive 1984 strikes, the film montages different aspects of the miners’ lives—the hardship of pit work, the role of the trade unions, the tradition of the colliery brass bands and the annual Miners’ Gala in Durham. A selection of earlier short films including Outerborough (2005) and Release (2010) rounds out the evening.

In person: Bill Morrison Curated by Steve Anker and Bérénice Reynaud.


MOn apR 23, 8:30 pM$10 [STUDENTS $8, CALARTS $5]

april 23

THE IMaGInaRY VOYaGEs OF MaUREEn sElWOODSince 1980 Maureen Selwood’s hand-drawn animations have taken viewers into the strange, beautiful, and sometimes terrifying lands of the mind. For her first solo show in Los Angeles, she presents a selection of more recent pieces, including the haunting black-and-white imagery of Hail Mary (1998); the expressively rendered Drawing Lessons (2006) and I Started Early (2007); As You Desire Me (2009), the single-channel version of an installation inspired by her residence at the American Academy in Rome at the beginning of the Iraq War; the hallucinogenic trip of How Much Better if Plymouth Rock Had Landed on the Pilgrims (2009); the unexpected washing-machine madness of A Modern Convenience (2012); as well as Mistaken Identity (2001), her alluring deconstruction of 1955 noir classic Kiss Me Deadly, presented with live performance.

In person: Maureen Selwood Curated by Steve Anker and Bérénice Reynaud.



april 30



“selwood grapples with notions of dislocation, grief and loss…The result is indeed akin to poetry, in its piercing sadness that is at once palpable and ephemeral.” Holly Willis

The Miners’ Hymns

A Modern Convenience

As You Desire Me


“a fragile, poetic ode…sparking chemistry between theater and music.” KNACK BELGIUM

WUnDERBaUM SONGS AT THE END OF THE WORLDWEsT COasT pREMIEREExplosively inventive Dutch theater ensemble Wunderbaum merges with rock trio Touki Delphine to create a theatrical superband in this absurdly fantastical concert event inspired in part by imagery from Werner Herzog’s Antarctica documentary Encounters at the End of the World. In oversized snowsuits and a variety of more fanciful costumes, six performers present a funny and rhythmic song-cycle based on their childhood dreams and hopes. One dreams of flying, another fantasizes about living with jellyfish under the sea. Each imaginary life-choice is illustrated with humorous and touching lyrics, performed in English, and imaginative musical compositions.

saT apR 28, 8:30 pMsUn apR 29, 7:00 pM$25 [STUDENTS $20, CALARTS $12]

april 28–29

“Fresh and original…[Wunderbaum] is political and raw, its actors also rockers.” LOS ANGELES TIMES

april 30

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REDCaT InTERnaTIOnal CHIlDREn’s FIlM FEsTIValThe 7th Annual REDCAT International Children’s Film Festival makes a most-welcome return home to enchant moviegoers of all ages. With two full weekends of exhilarating short-film programs, the festival showcases work from around the globe—including Brazil, Colombia, Israel, Iran, Japan, Portugal, Puerto Rico, Taiwan and Vietnam—to raise the curtain on a world of celluloid wonder that will inspire the whole family. From animated antics to rip-roaring live action, festival highlights include favorites from famed Russian studio SHAR and new delights from Aardman Animations.

Detailed program information at redcat.org

saTURDaYs anD sUnDaYs, MaY 5–13$5 [STUDENTS $5, CALARTS $5]

May 5–13

CInE pOVERa: MEXICan EXpERIMEnTs In 16MMTaking its cue from the Arte Povera movement, Cine Povera showcases work from Mexico by filmmakers who persist in working in 16mm with the most modest resources. Using antiquated techniques to produce emphatically anti-corporate and insistently artisanal cinema, the artists address social and political concerns—from the recent upheavals in Oaxaca to the gentrification of urban neighborhoods. Not consumed with the medium’s illusions, this eclectic selection of handcrafted shorts reveals the passion, craft and ingenuity of artists who adhere to the ethos of honest effort. The screening features young Mexican filmmakers Uriel Lopez España, Txema Novelo, Hanne Jimenez, Rosario Sotelo, Mayra Isabel Cespedes Vaca, Elena Pardo, Andres García Franco, Jorge Lorenzo Flores Garza and Bruno Varel, alongside artists who have made work in Mexico, including Naomi Uman, Robert Fenz, Rocio Aranda de la Figuera and Erika Loic.

In person: Curator Jesse Lerner


MOn MaY 7, 8:30 pM $10 [STUDENTS $8, CALARTS $5]

TRANSPARENT CITIESWORlD pREMIEREIn this vivid portrait of Los Angeles, layers of sound and image field recordings combine with music—both recorded and performed live—to offer an eloquent meditation on presence and absence, lived experience and re-presented time. An extraordinary collaboration by Madison Brookshire (video), April Guthrie (cello), Michael Pisaro (sound), and Cassia Streb (viola), Transparent Cities reveals patterns of light, movement, sound, and silence that emerge during the course of a single day. The video images dissolve into a ghostly translucency as the recorded audio and live music build up densely layered sonic textures—an experience of the city that is utterly strange yet eerily familiar. Transparent Cities is preceded by Five Lines, a new film/music composition by Madison Brookshire.

TUEs MaY 1, 8:30 pM $20 [STUDENTS $16, CALARTS $10]

May 1

“pondering these nearly still images and listening to the city in new ways is indescribably pleasurable.” BLUR + SHARPEN

Music–Film/Video

Film/Video–Family

Film/Video–Jack H. Skirball SeriesMay 7

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The Road Home, by Rahul Gandotra

From left: Parícutin, Erika Loic; Cines Abandonados, Andrés García Franco; Mi Barrio, Elena PardoTICKETs: 213.237.2800

redcat.org

aRCanE COllECTIVE COLD DREAM COLOURFeaturing an original score by The Edge and paul ChavezLeading Los Angeles choreographer Oguri collaborates with Dublin-based choreographers Morleigh Steinberg and Liz Roche in this acclaimed international co-production featuring a beautifully haunting musical score by U2 guitarist The Edge and Paul Chavez of Feltlike. Cold Dream Colour is a precise and hypnotic dance theater work, partly inspired by the rich and ethereal work of Irish artist Louis le Brocquy, described as “the foremost Irish painter of the 20th century” by the Irish Times. The distinctive guitar techniques of The Edge set an urgent yet subtly textured tone for the work, which merges an intensely seductive movement vocabulary akin to the butoh form with an evocative and gestural movement style that hints at a poetic narrative. The powerful dance is concerned less with animating figures and physical shapes in le Brocquy’s mysterious paintings than with finding the energies and meanings in them.

WED MaY 16–saT MaY 19, 8:30 pMsUn MaY 20, 3:00 pM$20–25 [STUDENTS $16–20, CALARTS $10–12]

May 16–20

“spellbinding...It’s nice to see a bit of rock-star oomph being injected into the world of contemporary dance.” IRISH INDEPENDENT


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“On Oguri’s watch, life’s minutiae become the infinite.” DANCE MAGAzINE

paRTCHCelebrating the release of the first recording of the complete Bitter Music, Partch’s often hilarious, sometimes heartbreaking, long-lost hobo journal from 1935 is performed as a special multimedia presentation including the work’s original pen and ink illustrations, photographs from the composer’s scrapbooks and his legendary instruments. From the transient shelters of mid-Depression California to the reading room of the British Museum, from cleaning sewers to taking tea with Irish poet W.B. Yeats, Partch’s story reveals seven months in a lifetime of extraordinary struggle to forge a new musical language outside the traditions of Western Classical music. The evening also includes a newly discovered 1969 interview with Partch about Bitter Music, and the first performance of the long-lost 1942 version of Barstow for two voices, Adapted Guitar and Chromelodeon.

THUR JUn 14, 8:30 pM $25 [STUDENTS $20, CALARTS $12]

sTUDIO sUMMER 2012Six Los Angeles artists stage new works and works-in-progress in this ongoing program curated to offer audiences a fresh, dynamic mix of interdisciplinary performances while giving experimental artists a platform to investigate new ideas and new directions.

Funded in part by a generous grant from the National Endowment for the Arts.

sUn JUn 24–MOn JUn 25, 8:30 pM$15 [STUDENTS $12, CALARTS $8]

June 24–25

nEW DaY aT 40: a COMMUnITY’s CElEBRaTIOnREDCAT is proud to host a celebratory screening (program TBA) to mark the 40th anniversary of New Day Films—created by filmmakers Julia Reichert and Jim Klein when they failed to secure distribution for Growing Up Female (1971), about the social constraints placed on women aged 4 to 35. In the early 1970s the act of hearing women’s voices was perceived as a “radical,” and New Day welcomed the work of filmmakers—both men and women—who were challenging the political status quo in terms of gender, social and racial inequality. Today, New Day Films counts more than 100 members, whose films have won Academy Awards, Emmys, and premiered at major film festivals and cover issues as diverse as immigration, human rights, LGBT, disability, addiction, criminal justice, youth and aging.

In person: Members of New Day Films Curated by Steve Anker and Bérénice Reynaud.


MOn MaY 21, 8:30 pM $10 [STUDENTS $8, CALARTS $5]

Film/Video–Jack H. Skirball Series May 21

“new Day has managed to create a kind of oasis insulated from an indie film community that can often be competitive.” DOCUMENTARY.ORG


“Weird and wonderful sonorities, truly unlike anything else on Earth or any neighboring celestial body.” LA WEEKLY

Music–Multimedia June 14

Above from left: Growing Up Female poster, 1971; New Day poster, 1973; New Day members circa 1976, courtesy New Day

Harry Partch

Berglind Tomasdottir, featured in Studio: Fall 2011


“Mwine…is wired, vivid and insistent.” TIME OUT LONDON

nTaRE GUMa MBaHO MWInE A MISSIONARY POSITIONWORlD pREMIEREA multimedia solo work for the stage written and performed by Ugandan American artist Ntare Guma Mbaho Mwine, A Missionary Position is a searing response to the rampant homophobia now gripping Uganda. The noted Los Angeles theater artist incorporates raw video footage and still photography—gathered over recent months on front lines of the African nation’s LGBT movement—and layers this documentary material with riveting portrayals of Ugandan gay prostitutes, gay priests and LGBT activists drawn from in-person interviews to create a complex investigation of the burgeoning resistance to state-supported oppression. A Missionary Position is the follow-up to Mwine’s internationally heralded one-man show Biro, about the eponymous HIV-positive Ugandan who illegally entered the United States to seek treatment.

THUR JUn 28-saT JUn 30, 8:30 pMsUn JUl 1, 7:00 pM $20–25 [STUDENTS $16–20, CALARTS $10–12]

Theater–MultimediaJune 28–July 1

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JAY CHUNG & Q TAKEKI MAEDAOpEnInG RECEpTIOn: saTURDaY, JUlY 7, 6–9 pMFor their first major solo exhibition in the United States, Berlin-based artists Jay Chung & Q Takeki Maeda further an ongoing inquiry into the systems that underlie processes and contexts of social exchange. Since studying together at the Städelschule in Frankfurt, Chung and Maeda have worked collaboratively for nearly a decade. While recent exhibitions have often tended toward more invisible and oblique forms of critical inquiry, many of their sculptural, photographic, and video-based works emerge from a direct engagement with the artists’ immediate context. In the case of Untitled (2011), Chung and Maeda bring together a collection of found photographs that depict the candidates who have run against the current mayor of Berlin, Klaus Wowereit, over the course of his thirty-year political career. Through a working method that is largely determined by research into specific physical, cultural and conceptual conditions, the artists’ two-month residency in Los Angeles culminates in a new project at REDCAT that characteristically exposes and derails the conventions of exhibition-making.

sUn JUlY 8–sUn sEpT 2TUEs–sUn, nOOn–6 pM OR InTERMIssIOnFREE

July 8–september 2

Art

Jay Chung & Q Takeki Maeda, She’s Gone, 2009, single-channel video with sound, 3 min, courtesy the artists and Galerie Isabella Bortolozzi, Berlin

Jay Chung & Q Takeki Maeda, Caducean City, 2006, 16mm film, 22 min, courtesy the artists and Galerie Isabella Bortolozzi, Berlin

Jay Chung & Q Takeki Maeda, Untitled, 2011, inkjet print, 24 x 16 inches, courtesy the artists and Galerie Isabella Bortolozzi, Berlin


THE nEXT DanCE COMpanYNow in its fourth season, the resident ensemble of The Sharon Disney Lund School of Dance at CalArts brings innovative and memorable new dance to REDCAT. Choreographers Stephan Koplowitz and Laurence Blake co-direct this year’s program from The Next Dance Company, which draws together the school’s most accomplished performers and choreographers, all members of the 2012 graduating class. The performances include choreography by New York-based guest artist Darrell Grand Moultrie and faculty member Laurence Blake, alongside extraordinary dances from students in both the MFA and BFA programs.

FRI MaY 11–saT MaY 12, 8:30 pM$20 [STUDENTS $16, CALARTS $10]

CalaRTs WRITERs sHOWCasEThe School of Critical Studies hosts its annual reading of the best new fiction and poetry by MFA candidates in the school’s Writing Program.

sUn MaY 13, 7:00 pMFREE, REsERVaTIOns RECOMMEnDED

CalaRTs EnTERTaInMEnT GROUpCalArts Entertainment Group (CEG) gathers dynamic leaders in the art and entertainment fields for an engaging series of programs and events designed to foster in-depth conversation and a lively social space. Speakers drawn from CalArts’ first-rate network of alumni, faculty and guest artists explore current issues in the world of contemporary art and entertainment, and related receptions offer a chance to make new connections in the intimate Lounge at REDCAT.

Detailed program information at calarts.edu/alumni


Conversations May 13

May 11–12

CalaRTs FIlM/VIDEO sHOWCasEsEach year the CalArts School of Film/Video presents a juried selection of four special screen-ings that feature new short and feature-length films by students in its Experimental Animation, Film and Video and Film Directing programs.

WED MaY 2–saT MaY 5, 8:30 pMFREE, REsERVaTIOns RECOMMEnDED

May 2–5

Film/Video

spECIal CalaRTs EVEnTs at REDCaTThe end of the school year brings to REDCaT a series of special programs highlighting the work created at Calarts.

anD MORE…

COMMUnITY aRTs paRTnERsHIp (Cap) aT REDCaTThroughout the spring REDCAT and the CalArts Community Arts Partnership (CAP) host a variety of free screenings, concerts and a new youth theater production that highlight the young participants in CAP’s varied programs throughout Los Angeles. For more than 20 years CAP has been linking the Institute with the diverse communities of Los Angeles County through free, after-school and school-based arts programs for youth. CAP provides the youth in these communities challenging learning environments for artistic experimentation and creates access to higher education. Through these CalArts faculty- mentored programs, CAP provides CalArts students the opportunity to teach, to refine their artistic abilities and to redefine the role of artists, arts education, and the arts in society.

Detailed program information at calarts.edu/cap

nEW ORIGInal WORKs FEsTIVal 2012Throughout the summer REDCAT serves as a vital laboratory for the creation of innovative new work by Los Angeles performing artists, culminating in the annual New Original Works Festival, now in its ninth year. The festival premieres new dance, theater, music and multimedia works over the course of three weeks in an interdisciplinary program that the Los Angeles Times described as “on the pulse of cutting-edge contemporary performance.” Past festivals have launched projects by artists that continue to appear on stages worldwide, including Cloud Eye Control, Robert Cucuzza, Early Morning Opera, Rosanna Gamson, Sheetal Gandhi, Michel Kouakou, Anne LeBaron, Lucky Dragons, Miwa Matreyek, My Barbarian, Poor Dog Group, Alexandro Segade, Lauren Weedman, Meg Wolfe, Kristina Wong and Raphael Xavier, among many more.

Detailed program information announced each spring at redcat.org

“One of the city’s more eclectic and vital performance festivals.” LA WEEKLY

July–august

Dance–Multimedia–Music–Theater

Cattywampus, Robert Cucuzza, New Original Works Festival 2011

Replicant Vs Separatist, Alexandro Segade, New Original Works Festival 2010

Sack, Michel Kouakou/Daara Dance. New Original Works Festival 2011. Photo by Aba Page


ExPAND YOUR REDCAT ExPERIENCE

THE lOUnGE aT REDCaTFINE ESPRESSO, SELECT SPIRITS, ASSORTED SNACKS, FREE WI-FI Whether you’re coming to REDCAT for a performance, screening or exhibition or visiting MOCA or the Music Center, the Lounge is a great place to meet with friends and relax while exploring downtown Los Angeles. And after each show the Lounge stays open to host a lively mix of artists and audiences, so plan to stay late and join in the conversation.

TUEs–FRI, 9 aM–8 pM OR pOsT-sHOW saT, 12 pM–8 pM OR pOsT-sHOW sUn, 12 pM–6 pM OR pOsT-sHOW REDCaT.ORG/VIsIT/lOUnGE

REDCaT pUBlICaTIOnsREDCAT’s publishing program features major monographs and books on contemporary artists. Developed in conjunction with exhibitions in the gallery, the publications aim to contextualize artistic practice through critical texts.

FEaTURED pUBlICaTIOn ANIMALIA: KIM BEOMWith contributions by Clara Kim, Paola Morsiani, and Park Chan-Kyong.

167 pages, four-color, perfect bind, softcover. Design by BAAN/Sungyeol Kim.

REDCAT Publications are available for purchase in the Lounge at REDCAT or online. View a complete list of titles at REDCaT.ORG/pUBlICaTIOns

REDCaT relies on the generosity of arts patrons like you. Your support helps make possible the diverse performing arts programming and unparalleled contemporary arts exhibitions we present throughout the year. Become a REDCAT Member or join the REDCAT Circle today to ensure REDCAT’s artistic vitality all season long, save on tickets, receive special offers, invitations and much more!

Donate today and your support for REDCAT will also provide you with benefits throughout the season.

REDCaT MEMBERsHIpREDCAT Membership provides a year’s worth of great benefits while enabling REDCAT to continue its commitment to the arts in Los Angeles. Members enjoy discounts on tickets to events and REDCAT merchandise and publications available in the Lounge. Other benefits include special invitations to opening night receptions and an exclusive e-newsletter filled with special offers, first-hand information about what’s coming and much more.

REDCaT.ORG/sUppORT/MEMBERsHIp

REDCaT CIRClEREDCAT Circle contributions support the dynamic artists we present and help maintain our state-of-the-art facility in downtown Los Angeles. In addition to membership benefits, REDCAT Circle members receive complimentary tickets to performances throughout the year and insider access to the world of contemporary art with invitations to attend REDCAT Salons, where members have the opportunity to meet, mingle and engage in lively discussions with performing and visual artists.

REDCaT.ORG/sUppORT/REDCaT-CIRClE

JOIN REDCAT!

“The best hotel bar in the world.” GQ MAGAzINE

2011 REDCAT Award Honorees Apichatpong Weerasethakul, Eli Broad and Edythe Broad, with Master of Ceremonies Ed Harris.

THE sTanDaRD HOTEl REDCAT’s Official HotelWith a rooftop pool and bar featuring stunning panoramic views of Los Angeles, a 24-hour restaurant and utterly original accommodations, The Standard Downtown LA is the perfect place to extend your evening downtown—for a few extra hours or a few extra days. Be sure to visit the Biergarten, the hotel’s newest offering on the rooftop, featuring giant pretzels, sausages, strudel and of course beer and wine.

sTanDaRDHOTEls.COM

REDCAT acknowledges with deep appreciation and gratitude the organizations and individuals listed below whose extraordinary support makes REDCAT’s programming possible.

REDCAT would like to express deep gratitude to The Walt Disney Company, The Sharon D. Lund Foundation, Veronica and Robert Egelston, Charles Kenis, Lee and Lawrence J. Ramer, and Dorothy R. Sherwood for their investment in REDCAT’s future through the creation of the REDCAT Endowment.

THANK YOU!

REDCaT Is pROUD TO BE a paRT OF paCIFIC sTanDaRD TIME

Exhibition and programming made possible in part by grants from the Getty Foundation

This publication is produced by the CalArts Office of Advancement.

DEsIGnJessica Fleischmann (MFA 01), still room

pHOTOGRapHYSteven Gunther and Scott Groller unless noted otherwise.

REDCaT COUnCIl

Tim Disney, ChairHarriett F. Gold,

Co-Vice ChairCatharine Soros,

Co-Vice Chair

Edgar ArceneauxVirginia BeutnerJeffrey CalmanVictoria DaileyRichard J. GradWilliam S. LundLeonard MadsonAntonio Mejias-RentasS. Daniel MelitaSeth PolenKevin RatnerAraceli RuanoJohn Rubeli

Charles Gaines, Faculty Trustee

Harriett F. GoldRichard J. GradCharmaine JeffersonMarta KauffmanSteven D. Lavine,

Ex OfficioMichelle LundJamie Alter LyntonTerence McFarland,

Alumni TrusteeLawrence J. RamerJanet Dreisen RappaportAraceli RuanoJordan Saenz,

Student TrusteeDavid L. SchiffJoseph Smith

Dorothy R. SherwoodEve SteeleAdele Yellin

Steven D. Lavine, President, CalArts

Lynn Rosenfeld, Vice President for Special Projects, CalArts

Thomas E. UntermanRoger WackerElliot D. WebbLuanne C. WellsDenita WilloughbyChristine N. Ziemba,

Staff Trustee

TRUsTEEs EMERITIV. Shannon ClyneDouglas K. FreemanJeffrey KatzenbergWilliam S. LundC. Roderick O’NeilMichael Pressman

Austin M. Beutner, ChairThomas L. Lee, Vice ChairJames B. Lovelace,

Vice Chair

Joan AbrahamsonAileen AdamsAlan BergmanDavid A. BossertWilliam CampbellManuel CastellsDon CheadleJoseph M. CohenRobert J. DenisonTim DisneyMelissa P. DraperRobert B. EgelstonMichael D. EisnerDavid I. Fisher

CalaRTs BOaRD OF TRUsTEEs

$100,000 anD aBOVE

Neda and Tim DisneyNew England Foundation

for the Arts

$25,000–$99,999The Herb Alpert FoundationEdythe and Eli BroadCotsen Family FoundationDepartment of Cultural Affairs,

City of Los AngelesRobert A. DayThe Walt Disney CompanyVeronica and Robert EgelstonGagosian GalleryThe Getty FoundationThe James Irvine FoundationJanet Sternburg and

Steven D. LavineTeena Hostovich and Doug

Martinet; Eric and Kim Kaufman; Lockton Insurance Brokers, LLC

Jamie and Michael LyntonMetabolic StudioNational Endowment for the ArtsRichard RiordanCatharine and Jeffrey SorosTheatre Communications GroupTrust for Mutual UnderstandingThe Andy Warhol Foundation

for the Visual Arts

$10,000–$24,999Anonymous (1)The Capital Group

Companies, Inc.Abigail Disney and

Pierre HauserMelissa and Tim DraperKimberly Marteau and

John EmersonMarianna and David FisherHarriett and Richard GoldGraham Foundation

for Advanced Studies in the Fine Arts

John C. HerklotzLilly and Bruce KaratzThe Korea FoundationKurimanzutto GallerySusan Disney LordAnahita and James B. LovelaceLillian and Jon LovelaceNational Performance NetworkNimoy FoundationJanet Dreisen RappaportStacy and John RubeliEve Steele and Peter GellesMaria and Robert TuttleTom and Janet UntermanSusanne Vielmetter,

Los Angeles Projects

$1,000–$9,999The Academy of Motion Picture

Arts and SciencesAileen Adams and

Geoffrey CowanAngeles Investment Advisors,

LLCThe Audain Foundation

for the Visual ArtsAmbassador Frank and

Kathy BaxterBehr Browers Architects, Inc.The Bell Family Foundation, Inc.Carol and Frank BiondiBon Appetit

Management CompanyConsulate General of Greece

in Los AngelesConsulate of MexicoSheri and Roy P. DisneyOlga GarayGoldman Sachs & CompanyCindy and Richard GradThe haudenschildGarageInertia EngineersLinda and Jerry JangerCharmaine Jefferson and

Garrett JohnsonJane Jelenko and Bill NorrisSuzanne and David JohnsonHarvey L. KarpCarol Kim and Tim ChinThe Kwon Family FoundationMarlene and William LouchheimSharon D. Lund FoundationNancy and Howard MarksNickelodeonPasadena Art AllianceAssociation of Performing

Arts PresentersLinda and Michael PetersenDallas Price-Van Breda and

Bob Van BredaLee and Lawrence J. RamerAlisa and Kevin RatnerMatt RatnerThe Related CompaniesLynn and Edward RosenfeldFelicia Rosenfeld and

David LindeJudith O. and Robert E. RubinKristy Santimyer-Melita and

S. Daniel MelitaShamrock Holdings, Inc.Dorothy R. SherwoodStaples Construction

Company, Inc.Sutton and Christian StrackeSunAmerica, Inc.David TeigerSteve Turner and Victoria Dailey

U. S. Trust Bank of America Private Wealth Management

Andrea and John Van de KampDebbie and Elliot WebbAlexander Westerman and

David GleasonJoni Weyl and Sidney FelsenWendy and Jay WintrobAdele Yellin

$500–$999Jeffrey DeitchEmi FontanaSikkema Jenkins & CompanyThe Mortimer Levitt Foundation,

Inc.Thao NguyenBrian PhillipsBianca M. RobertsEugene SadovoyNancy Englander and

Harold WilliamsGoethe-Institut Los AngelesNancy Berman and Alan BlochSue BienkowskiBrian R. HoltElliott HundleyWilliam L. JonesDeborah McLeodMichelle and Michael O’Brien

$100–$499Anonymous (3)Joe AustinSara and Urs BaurRoz and Peter BonerzMatthew EasleyElisabeth FamilianGeorge GagePallavi GargOscar GerardoElyse and Stanley Grinsteingroundlift.orgEungie JooBarb and Edward JourdenaisJodie LandauMargo LeavinChris and Darius (MFA 06)

ManninoSharon OxboroughRudy PerezStuart Rudnick and

Doreen BravermanOlivia Sandoval (BFA 10)Brien and Anne SmithJulia WardSally Louise White

GIFTs-In-KInDLacey Avenue LLCMythos Breweries S.A.Seth Polen

OTHERAnonymous (5) • John Andrews • Gary Antonucci • Eusebio Aynaga • Thomas E. Backer, PhD • Mary-Bonner Baker and Hunter Perrin • Dan Barham • Christopher Basile • Zhao HuiQuin and Duran Bell • Kathryn Beranich • Martin Berg • Barbara Bestor • Peter J. Bloom • Dorit Bollinger • Rex Boone • Anne Brillant • Vincent Brook • Diana Burman • Diane Calder (MFA 89) • Lindsie Carlsen • Martin Cernosek • Dorit Cypis (MFA 77) • Satya Delamanitou • Dino Dinco • Melanie Dubose • Dana Berman Duff (MFA 81) • Gerald Elijah • Maryjohn Frank • Christy Fulbright • John Funk • Cheri Gaulke • Fariba Ghaffari • Beth Burns and Mark Gorman • Arianne Hoffmann and Kevin Gralewski • Debra and Joseph Gualtieri • Paul Guilfoyle • Robert Gutierrez • Kerry Hannawell • Judith Hansen • Cynthia Harrington • Risha Hill (MFA 03) • Wendy Elliott and David Hurwith • Deborah Irmas • Terrence S. Johnson • David Keitel and Shelley Marks • Lynette Kessler • Jumi Kim • Laurel Kishi • Marla Koosed • Jesse Lemer • Elana Mann and Jean-Paul Leonard • Leeba R. Lessin • Lockheed Corporation • Marilyn J. Lowey • Arianne MacBean (MFA 99) • Albert Marston • John May • Julie McCabe • Paula Morris • Mark Nelson • Sibyl H. O’Malley • Judith Teitelman and Aaron Paley • John Palmer • Meeta and Manashi Patnaik • Matthew Pomerantz • Frances Ramirez • Amy Leach and Robin Rauzi • John Reimer • Dennis Roberts • Pat Sawyer • Daniela Saxa-Kaneko • Michael Seel • Sharon Sindell • Raphael P. Smadja (BFA 84) • Leslie Tamaribuchi • Mary Terrall • Alan Trevor • Eugenie Trow • Mark Valdez • Tina and Jim Vince • Eric Wallner • Angela and Ian Wayne • Corey Whelpley • Bill and Kathy Wishner • Chris Wojcieszyn • Kristina Wong • Louise Woo • Julie Tolentino and Stosh Pigpen Fila • Chi-wang Yang (MFA 07) • Jane and Steven Zaslaw

Donations and commitments made between July 1, 2010 and June 30, 2011

OFFICIal HOTEl spOnsOR

OFFICIal pIanO OF REDCaT

MEDIa spOnsORs

| California Institute of the Arts 24700 McBean Parkway Valencia, CA 91355-2340

| Roy and Edna Disney/CalArts Theater 631 West 2nd StreetLos Angeles, CA 90012

NON-PROFIT ORG.U.S. POSTAGEpa I DCITY OF INDUSTRY, CAPERMIT #4041

Right: Autonomous Space Program, source image by Tomás, Morelia Caracol, 2011

Below: Rigo 23, Autonomous Space Program – Corncob (Mazorca) Spaceship (production image), 2011-12

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