festival: live art la - redcat · the festival interrogate urgent issues with a clarity and...

LI V E L A

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PACIFIC S TANDARD TIME

F E S T I V A L :

An international celebration of vital art and performance. More than 200 Latin American and Latino artists and performers create adventurous events at 25 locations throughout LA.

REDCAT.ORG/FESTIVAL

JAN 11―21, 2018

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The Pacific Standard Time Festival: Live Art LA/LA – An International Celebration of Vital Art and Performance

Organized by REDCAT with a consortium of more than a dozen partner organizations.

— More than 200 Latin American and Latino artists and performers

— More than 25 indoor and outdoor locations throughout greater Los Angeles, including parks, plazas, theaters, galleries and busy urban settings

— Connecting artists and ensembles from 15 countries throughout Latin America with neighborhoods and communities in Los Angeles

MANY EVENTS ARE FREE(and most ticketed events cost $15 or less)

REDCAT (Roy and Edna Disney/CalArts Theater) is CalArts’ Downtown Center for Contemporary Arts REDCAT.org/festival

VITAL ARTISTS AT A CRUCIAL TIME The Pacific Standard Time Festival: Live Art LA/LA is

organized by REDCAT and supported by a major grant from the Getty Foundation.

Pacific Standard Time Festival: Live Art LA/LA is part of Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles taking place from September 2017 through January 2018. Led by the Getty, Pacific Standard Time: LA/LA is a collaboration of arts institutions across Southern California.

Through a series of thematically linked exhibitions and programs, Pacific Standard Time: LA/LA highlights different aspects of Latin American and Latino art from the ancient world to the present day. With topics such as luxury arts in the pre-Columbian Americas, 20th century Afro-Brazilian art, alternative spaces in Mexico City, and boundary-crossing practices of Latino artists, exhibitions range from monographic studies of individual artists to broad surveys that cut across numerous countries.

Supported by more than $16 million in grants from the Getty Foundation, Pacific Standard Time: LA/LA involves more than 70 cultural institutions from Los Angeles to Palm Springs, and from San Diego to Santa Barbara. Pacific Standard Time: LA/LA is an initiative of the Getty. The presenting sponsor is Bank of America.

CALARTS’ DOWNTOWN CENTER FOR CONTEMPORARY ARTS

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A performance is a moment in time. A communal experience shared by artists and audiences.

At a volatile time of political and social changes and challenges, shared cultural experiences are vital.

You can join more than 200 artists and performers from throughout Latin America and Southern California for experiences that confront issues of importance to the neighborhoods, regions and countries where they work and live.

Artistic actions and performance art have roots in a history of community activism, protest, ritual, collective expression, and resistance to injustice. Many artists in the festival interrogate urgent issues with a clarity and multiplicity of expression that includes resistance, yet also celebrates and expresses essential values and visions, while embracing artful confusion and inconsistency.

The festival is truly a city-wide and international collaboration between organizations, artists and community/civic organizers. On behalf of REDCAT and CalArts, we are honored to be working with the Getty Foundation to support vital artists at a crucial time.

REDCAT

Mark Murphy, The Steven D. Lavine Executive Director

Ruth Estevéz, Gallery Director/Curator

Edgar Miramontes, Associate Director

Un performance es un momento único. Una experiencia comunal compartida por artistas y público.

En este tiempo volátil de cambios y desafíos políticos y sociales, las experiencias culturales compartidas son vitales.

Lo invitamos a sumarse a más de 200 artistas y performanceros de toda Latinoamérica y el sur de California en experiencias que abordan cuestiones fundamentales para las comunidades, regiones y países donde éstos trabajan y viven.

Las acciones artísticas y el arte del performance tienen raíces en una historia de activismo comunitario, protesta, ritual, expresión colectiva y resistencia a la injusticia. Muchos artistas en el Festival interrogan asuntos urgentes con una claridad y multiplicidad de expresión que incluye resistencia, pero también celebra y expresa valores y visiones esenciales, acogiendo confusión e incoherencia con un sentido artístico.

El festival es una auténtica colaboración internacional y de toda la ciudad entre organizaciones, artistas y organizadores cívicos y comunitarios. En nombre de REDCAT y CalArts, es un honor trabajar con la Fundación Getty para apoyar a estos artistas, indispensables en un momento crucial como el que estamos atravesando.

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FESTIVAL EVENTS AND PARTNERS

January 11 – 21 OPAVIVARÁ! BR A ZIL TRANSNÔMADES Various locations

January 11 ASTRID HADAD MEXICO I Am Made in Mexico The Mayan Theater

January 11 & 13 SYLVIA PALACIOS WHITMAN CHILE REDCAT (Gallery)

January 11 – 12 LAGARTIJAS TIRADAS AL SOL MEXICO Tijuana Skirball Cultural Center

January 11 – 19 COLECTIVO AM MEXICO Banco Universal de Pasos (Universal Bank of Dance Moves) / Living Research Station LACE and outdoor locations

January 12 – 14 LIGIA LEWIS DOMINICAN REPUBLIC minor matter REDCAT (Theater)

January 12 & 13 LIVE ARTISTS LIVE Simultaneity USC Graduate Fine Arts Building (IFT)

January 13 CARMINA ESCOBAR FIESTA PERPETUA! Echo Park Lake

January 13 EDGAR FABIÁN FRÍAS, IRINA CONTRERAS, CESIA DOMINGUEZ, CINDY VALLEJO AND FREDDY VILLALOBOS Cuerpos Unidos: Performances in Dialogue with Laura Aguilar Vincent Price Art Museum

January 14 & 21 RAUL BALTAZAR Mi Sereno Ascot Hills Park

January 14 LORENA WOLFFER MEXICO If She is Mexico, Who Beat Her Up? Armory Center for the Arts

January 14 & 20 ENCOUNTER Encounter #43 & #44 Human Resources LA & secret outdoor location

January 14 & 16 ALEXIA MIRANDA EL SALVADOR Memoria Sonora El Pueblo de Los Angeles Plaza

January 16 – 18 TEATRO LÍNEA DE SOMBRA MEXICO Durango 66 Lower Grand (REDCAT)

January 17 NAO BUSTAMANTE Teach Me Spanish/Enséñame al Español Westlake/MacArthur Park Market

January 17 ARTEMISA CLARK La clase dibujo libre/Free Drawing Class Armory Center for the Arts

January 18—20 GRUPO CULTURAL YUYACHKANI PERU Discurso de Promoción REDCAT (Theater)

January 18 VARIEDADES The Mayan Theater

January 19 NAUFUS RAMÍREZ-FIGUEROA GUATEMAL A El Corazón del espantapájaros (Heart of the Scarecrow) LACMA (Rodin Sculpture Garden)

January 19 OSCAR SANTILLÁN ECUADOR Correspondances (after Charles Baudelaire) LACMA (LA Times Central Court)

January 20 CARMEN ARGOTE If only it were that easy… Griffith Park

January 20 MERCEDES AZPILICUETA ARGENTINA La Facultad REDCAT (Gallery)

January 20 CARLOS MARTIEL, ANDIL GOSINE & JIMMY ROBERT Representational Acts MOLAA

January 20 COLECTIVO AM MEXICO La Pista de Baile LACE adjacent site

January 20 NAOMI RINCÓN GALLARDO MEXICO The Formaldehyde Trip The Broad

January 21 RAFA ESPARZA cumbre: look as far as you can see in every direction—north and south, east and west The Geffen Contemporary at MOCA

Organizations partnering with REDCAT to present Pacific Standard Time Festival: Live Art LA/LA

18TH STREET ARTS CENTER

ARMORY CENTER FOR THE ARTS

THE BROAD

HAMMER MUSEUM

HUMAN RESOURCES LA

LACE (LOS ANGELES CONTEMPORARY EXHIBITIONS)

THE MUSEUM OF CONTEMPORARY ART (MOCA)

LOS ANGELES COUNTY MUSEUM OF ART (LACMA)

MACHINE PROJECT

MUSEUM OF LATIN AMERICAN ART (MOLAA)

USC ROSKI SCHOOL OF ART & DESIGN

SHOW BOX LA / we live in space

SKIRBALL CULTURAL CENTER

VINCENT PRICE ART MUSEUM

Ful l schedule and detai ls at REDCAT.org/fest ival

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OPAVIVARÁ!TRANSNÔMADESBRAZIL

Throughout the festival, Rio de Janeiro art collective OPAVIVARÁ! activates various festival sites and other neighborhood locations with interactive events and interventions that engage the public in collective experiences that question the use of public space. Since 2005, the group has invited public participation in interactive and ephemeral community projects incorporating installation, performance, publishing, sound, and video. With humor and playfulness, the projects comment on Brazil’s political corruption and economic disparity.

A lo largo del festival, el colectivo de arte de Río de Janeiro OPAVIVARÁ! activa las sedes del festival y otras locaciones de la ciudad con eventos e intervenciones interactivas que exploran, de manera lúdica, cuestiones relacionadas con el uso del espacio urbano. Desde 2005, el grupo ha promovido la participación pública a través de intervenciones públicas interactivas y efímeras y proyectos comunitarios que incorporan la instalación, el performance, emprendimientos editoriales, el sonido y el video que comentan sobre la corrupción política y la disparidad económica de Brasil.

VENUE/LUGAR VARIOUS FESTIVAL SITES

ADMISSION/ADMISIÓN FREE

DATE/FECHA JANUARY 11 —21 1 1 —21 DE ENERO

TIME/HOR ARIO REDCAT.ORG/FESTIVAL

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ASTRID HADADI AM MADE IN MEXICOMEXICO

With outrageous wearable art, fierce Mexico-City performance art diva Astrid Hadad mixes feminism and fabulosity in extravagant events featuring a live band. Hadad confronts politics, Mexican hypocrisy, machismo, and corruption in cabaret- style productions that prompted The New York Times to describe her as “one of the most provocative stage acts since the Weimar Republic was in bloom.” Hadad is also a social critic, historian, and activist, whose unconventional vocal and visual performance style is filled with music dubbed “Heavy Nopal” (after the cactus juice for Tequila), combining ranchera, bolero, rumba and rock, and featuring extravagant costumes, which have become a hallmark of her performances. This Mexican cultural icon has inherited a uniquely Mexican female surrealism and created her own that pulses with campy humor and irony.

Con vestimentas escandalosas, la feroz diva del performance de Ciudad de México Astrid Hadad mezcla feminismo y fabulosidad en eventos extravagantes con una banda en vivo. Hadad se enfrenta a la política, la hipocresía mexicana, el machismo y la corrupción en producciones de estilo cabaret que constituyen, de acuerdo con el New York Times “uno de los actos escénicos más provocativos desde que floreció la República de Weimar.” Sustentando su labor de crítica social, historiadora y activista, Hadad presenta performances vocales y visuales no convencionales colmados de música ”Heavy Nopal” (en honor al cactus del que proviene el Tequila), combinando rancheras, boleros, rumba y rock, con disfraces extravagantes que funcionan como escenarios portátiles y son sello distintivo de sus actuaciones. Este ícono cultural ha heredado un surrealismo femenino exclusivamente mexicano, generando un estilo propio que palpita con humor e ironía.

VENUE/LUGAR THE MAYAN THEATER

ADMISSION/ADMISIÓN $12—$15

DATE/FECHA JANUARY 11 1 1 DE ENERO

TIME/HOR ARIO THURS/JUE 9:00PM

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SYLVIA PALACIOS WHITMANCHILE

PRESENTED IN PARTNERSHIP WITH HAMMER MUSEUM AND SHOW BOX LA/we live in space

In collaboration with local performers, Palacios Whitman creates striking visual poetry with sculptural props that evoke dreamlike images of mummies, a large elephant trunk, giant hands, and a “human paper coil.” The program includes actions first carried out in the 1970s — exemplifying Sylvia Palacios Whitman’s unique performance style, in which surreal stage props and wearable art create a visual form of theater that combines a rich Latin American pictorial sensibility with the minimalism of New York’s dance scene of the 1970s. Known to performance art enthusiasts on the East Coast, this will be the first time one of Whitman’s performances will be staged on the West Coast.

Con la colaboración de artistas locales, Palacios Whitman crea una llamativa poesía visual con pilares escultóricos que evocan imágenes de ensueño de momias, un gran tronco de elefante, manos gigantes, y una "bobina de papel humana." El programa incluye acciones llevadas a cabo en la década de 1970, que ejemplifican el estilo único de Sylvia Palacios Whitman, en el que escenarios surrealistas y vestimentas artísticas crean un teatro visual que combina una rica sensibilidad pictórica propia de Latinoamérica con el minimalismo de la escena de danza de Nueva York en los 70s. Reconocida por entusiastas de las artes vivas en la costa este, esta será la primera vez que Whitman se presente en la costa oeste.

VENUE/LUGAR REDCAT (GALLERY)


DATES/FECHA JANUARY 11 & 1311 & 13 DE ENERO

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LAGARTIJAS TIRADAS AL SOLTIJUANAMEXICO

PRESENTED IN PARTNERSHIP WITH THE SKIRBALL CULTURAL CENTER

Mixing video art and a sculptural stage environment with piercingly poetic text, this Mexico-City collective blurs the line between fiction and reality, using multimedia productions as mechanisms to link work and life and give voice to overlooked moments in social and political history. With movement and text, performer Gabino Rodríguez depicts a man’s social experiment, in which he mysteriously appears as a new resident of a neighborhood with a new sweatshop job and a secret history. The collective confronts questions such as: What does democracy mean in Mexico today for some 50 million people living on the minimum wage? What do we expect from democracy today? What do we expect from politics beyond democracy? Performed in Spanish with English surtitles.

Mezclando videoarte, escenarios esculturales y textos incisivamente poéticos, este colectivo de la Ciudad de México desdibuja ficción y realidad, utilizando mecanismos que vinculan trabajo y vida para dar voz a momentos pasados por alto en la historia social y política. El proyecto Tijuana el intérprete Gabino Rodríguez cuenta el experimento social de un hombre que aparece misteriosamente en un nuevo vecindario, con un nuevo trabajo de fábrica y una historia secreta. Los artistas del colectivo formulan preguntas como: ¿Qué significa la democracia en México hoy para unos 50 millones de personas que viven con el salario mínimo? ¿Qué esperamos de la democracia hoy? ¿Qué esperamos de la política más allá de la democracia? Presentación en español con supertítulos en inglés.

VENUE/LUGAR SKIRBALL CULTUR AL CENTER

ADMISSION/ADMISIÓN $10 —$15

DATE/FECHA JANUARY 11 & 1211 & 12 DE ENERO

TIME/HOR ARIO THURS/JUE & FRI/VIE 8:00PM

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LIGIA LEWIS minor matterDOMINICAN REPUBLIC

Dominican-born and Berlin-based choreographer Ligia Lewis and performers Jonathan Gonzalez and Tiran Willemse engage in a complicated entanglement with the black box and themselves. Between light and shadow, reference and imagination, affect and embodiment, questions of re-presentation, presentation, abstraction and the limits of signification emerge. In minor matter, sound travels across musical epochs to arrive at the poetics of the intimate present. Through a dynamic interplay of the theater’s parts—sound, light, image, and architecture—minor matter gives life to a vibrant materiality.

Ligia Lewis, coreógrafa dominicana radicada en Berlín, junto a los artistas Jonathan Gonzalez y Tiram Willemse, establece un complejo juego de entrelazamiento con la caja negra. Desde la puesta en tensión de luces y sombras, referencialidad e imaginación, afecto y corporalidad se interrogan cuestiones como re-presentación y presentación, abstracción y los límites de la significación. El sonido atraviesa, en la pieza, distintos períodos musicales hasta llegar a la poética del presente íntimo. A través de una interacción dinámica entre los elementos teatrales-sonido, luz, imagen y arquitectura-minor matter da vida a una materialidad vibrante.

VENUE/LUGAR REDCAT (THEATER)


DATE/FECHA JANUARY 12—14 12—14 DE ENERO

TIME/HOR ARIO FRI/VIE & SAT/SAB 8:00PMSUN/DOM 6:00PM

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COLECTIVO AMLA PISTA DE BAILEMEXICO

PRESENTED IN PARTNERSHIP WITH LACE (LOS ANGELES CONTEMPORARY EXHIBITIONS)

Throughout the festival, Colectivo AM from Mexico City will collect and document dance moves, contributed by LA residents to add to their digital collection Banco Universal de Pasos (Universal Bank of Dance Moves). The video dance samples, captured at a portable booth installed at LACE and other neighborhood locations, will be projected at La Pista de Baile (The Dance Floor), a large participatory performance that invites the public to dance together and collectively activate a Hollywood location, with music by local DJs. The project reflects and rethinks how community relationships are articulated in LA by connecting communities in a shared performance experience.IN COLLABORATION WITH THE LOS ANGELES LGBT CENTER, DUBLAB, KAOS NETWORK, SOUTHERN CALIFORNIA LIBRARY AND MORE.

A lo largo del Festival, el Colectivo AM de la ciudad de México coleccionará y documentará movimientos de baile, aportados por los residentes de Los Ángeles para agregar a su colección digital de Banco Universal de Pasos. Los resultados capturados en video, capturadas a través de un quiosco móvil instalado en LACE y otras ubicaciones aledañas se proyectarán en La Pista de Baile, un gran espectáculo participativo que invita al público a bailar juntos y a activar colectivamente un lugar de Hollywood, con música de DJs locales. El proyecto refleja y replantea cómo las relaciones comunitarias se articulan en Los Ángeles conectando a las comunidades en una experiencia de desempeño compartida.

VENUE/LUGAR VARIOUS LOCATIONS & L ACE


DATE/FECHA JANUARY 11 —2011 —20 DE ENERO

TIME/HOR ARIOREDCAT.ORG/FESTIVAL

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LIVE ARTISTS LIVESIMULTANEITY

PRESENTED IN PARTNERSHIP WITH USC VISIONS AND VOICES: THE ARTS AND HUMANITIES INITIATIVE

Performance artists including Carlos Martiel, Mickey Negrón, Nao Bustamante, Rafa Esparza, Xandra Ibarra, Marcus Kuiland-Nazario, and Dorian Wood come together for Simultaneity, the second iteration of the USC Roski School of Art and Design’s performance-art biennial, Live Artists Live. In an exciting two days of performances, dialogues, a Long Table event led by Beatriz Cortez, and more, acclaimed artists and scholars will explore the simultaneity that exists within binational and multicultural lives. Diana Taylor, the founding director of the Hemispheric Institute of Performance and Politics and author of The Archive and the Repertoire: Performing Cultural Memory in the Americas, will offer the keynote address.ORGANIZED BY THE USC ROSKI SCHOOL OF ART AND DESIGN

Carlos Martiel, Mickey Negrón, Nao Bustamante, Rafa Esparza, Xandra Ibarra, Marcus Kuiland-Nazario y Dorian Wood, entre otros artistas performanceros, se reunen para crear Simultaneity, la segunda iteración de la bienal de performance de la escuela de arte y diseño USC Roski, Live Artist Live. Durante dos días de fascinantes presentaciones, conversaciones, una mesa larga dirigida por Beatriz Cortez, y más, aclamados artistas y académicos explorarán la simultaneidad que existe en las vidas binacionales y multi- culturales. Diana Taylor, directora fundadora del Instituto Hemisférico de Performance y Política y autora de El archivo y el repertorio: La memoria cultural performática en las Américas, ofrecerá el discurso principal.

VENUE/LUGAR USC GRADUATE FINE ARTS BUILDING (IFT)



TIME/HOR ARIO FRI/VIE 6:00 —9:00PMSAT/SAB 10:00AM —10:00PM

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CARMINA ESCOBARFIESTA PERPETUA!

Floating rafts on picturesque Echo Park Lake become mobile stages for FIESTA PERPETUA!, a community ritual of manifestation led by acclaimed experimental Mexican vocalist Carmina Escobar with the 40-member Oaxacan youth brass band Maqueos Music, conducted by Yulissa Maqueos, and celebrated movement artist Oguri. Throughout the afternoon, performance interventions take place on and around the lake, following a mystical algorithmic schedule until sundown. Originally commissioned by Machine Project, Escobar’s ritualistic performance re-imagines a processional festival as a communal experience that reveals the syncretic, cross-cultural nature of LA.COMMISSIONED BY MACHINE PROJECT

Unas balsas flotantes en el pintoresco lago de Echo Park se convierten en escenarios móviles para FIESTA PERPETUA!, un ritual comunitario dirigido por la aclamada vocalista experimental mexicana Carmina Escobar con 40 miembros oaxaqueños de la banda juvenil de instrumentos de viento Maqueos Music, dirigida por Yulissa Maqueos, y el celebrado artista de danza Oguri. A lo largo de la tarde, las intervenciones performativas ocurren en y alrededor del lago, siguiendo un algorítmico místico hasta la puesta del sol. Originalmente comisionado por Machine Project, el performance ritual de Escobar reimagina la celebración de una procesión como una experiencia comunitaria que revela el carácter multicultural y sincrético de Los Ángeles.

VENUE/LUGAR ECHO PARK L AKE


DATE/FECHA JANUARY 1313 DE ENERO

TIME/HOR ARIO SAT/SAB 1 :00 —5:00PM

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EDGAR FABIÁN FRÍAS with IRINA CONTRERAS, CESIA DOMINGUEZ, CINDY VALLEJO AND FREDDY VILLALOBOSCUERPOS UNIDOS: PERFORMANCES IN DIALOGUE WITH LAURA AGUILARPRESENTED IN PARTNERSHIP WITH VINCENT PRICE ART MUSEUM

Cuerpos Unidos is a performance and social practice event organized by artist Edgar Fabián Frías in collaboration with the Vincent Price Art Museum (VPAM) featuring new commissions by five Los Angeles-based artists responding to photographer Laura Aguilar’s retrospective at VPAM. The day-long program features works by Frías, Irina Contreras, Cesia Dominguez, Cindy Vallejo, and Freddy Villalobos, and culminates with a collective ritual developed by the artists.

Cuerpos Unidos es un evento de performance y práctica social organizado por el artista Edgar Fabián Frías en colaboración con el Vincent Price Art Museum (VPAM). Presenta nuevas comisiones de cinco artistas radicados en Los Ángeles en respuesta a la retrospectiva de la fotógrafa Laura Aguilar en VPAM. El programa de un día presenta obras de Frías, Irina Contreras, Cesia Dominguez, Cindy Vallejo y Freddy Villalobos, y culmina con un ritual colectivo desarrollado por los artistas.

VENUE/LUGAR VINCENT PRINCE ART MUSEUM


DATE/FECHA JANUARY 13 13 DE ENERO

TIME/HOR ARIO SAT/SAB 12:00 — 4:00PM

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RAUL BALTAZARMI SERENO: TWO SUNDAYS OF PROCESSIONS, PICNICS AND PERFORMANCES FOR CULTURAL WORKERS OF LOS ANGELES

Raul Baltazar invites Los Angeles cultural workers, friends, family and neighbors to unite at Ascot Hills Park in El Sereno for two Sundays of processions, picnics and performances. Mi Sereno is a pair of ritual events honoring many generations of cultural workers, as they come together to form a larger body on these two special days. Baltazar sets a tone that is relaxed, playful, and introspective, with ephemera, games, picnic blankets, ritual trail hikes and group portraits observing the visual commons of the LA cultural worker. You are encouraged to wear all Red or Blue outfits (comfortable walking/hiking attire), and bring water, picnic blankets and food to share with others. All are welcome.IN COLLABORATION WITH EASTSIDE CAFÉ AND SELF HELP GRAPHICS & ART

Raul Baltazar invita a los trabajadores culturales de Los Ángeles, amigos, familiares y vecinos a unirse en el Parque Ascot Hills en El Sereno para dos domingos de procesiones, picnics y acciones. Mi Sereno es un par de eventos rituales que honran a muchas generaciones de trabajadores culturales, ya que se unen para formar un cuerpo más grande en estos dos días especiales. Baltazar establece un tono relajado, lúdico e introspectivo, con ephemera, juegos, mantas de picnic, caminatas rituales y retratos grupales que observan lo común visual del trabajador cultural de Los Ángeles. Se le anima usar ropa de color Rojo o Azul (cómodo para caminar/ropa de senderismo), y traer agua, mantas de picnic y comida para compartir. Todos son bienvenidos.

VENUE/LUGAR ASCOT HILLS PARK


DATE/FECHA JANUARY 14 & 21 14 & 21 DE ENERO

TIME/HOR ARIO SUN/DOM 11 :00AM —2:00PM

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LORENA WOLFFERIF SHE IS MEXICO, WHO BEAT HER UP? (1992—1994/2017)MEXICO

PRESENTED IN PARTNERSHIP WITH ARMORY CENTER FOR THE ARTS

In her performance If She is Mexico, Who Beat Her Up?, originally performed during 1997 and 1998, Lorena Wolffer presented herself as a beaten fashion model, a visual metaphor for a broken and abused Mexico insistent on its vitality and narrative of progress. Wolffer’s clothing and props reflected the Mexican flag, and a soundtrack mixed mientras rap and recordings of US Senate hearings on the drug trade. In this interactive performative lecture, Wolffer continues her examination of who is implicated in powerful, overlapping, and unjust economic systems, while embodying the body politic through her own body.

En su performance, If She is Mexico, Who Beat Her Up? presentado en 1997 y 1998, Lorena Wolffer interpretaba a una modelo golpeada como metáfora visual de un México quebrado y abusado que insiste en su vitalidad y en una narrativa de progreso. La vestimenta y los accesorios de Wolffer representaban la bandera mexicana, y una banda sonora mezclaba el rap mientras con grabaciones de las audiencias del Senado de los Estados Unidos sobre el tráfico de drogas. En la conferencia performativa actual, Wolffer continúa examinando las implicaciones de sistemas económicos poderosos, injustos y solapados, al tiempo que encarna el cuerpo político mediante su propia fisicalidad.

VENUE/LUGAR ARMORY CENTER FOR THE ARTS



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ENCOUNTERENCOUNTER #43 AND #44PRESENTED IN PARTNERSHIP WITH HUMAN RESOURCES LA

Interdisciplinary artists from Los Angeles are joined by five international guests to engage in a practice called Encounter, organized by Peruvian American artist Mariel Carranza. Encounters are durational, improvised, action/time/space-based performances inhabiting private studios, art venues, and public spaces across the city. Two durational performances are featured during the festival: one indoors, and one outdoors. Audiences are invited to come and go as they wish, and a meal will be shared at the end of the performance. PRODUCTION MANAGEMENT BY RHIZOMATIC ARTS

Artistas interdisciplinarios de Los Ángeles se unen en colaboración con cinco invitados internacionales para participar de una práctica llamada Encounter, organizada por la artista peruano-estadounidense Mariel Carranza. Los encuentros son performances duracionales, improvisados, basados en acción/tiempo/espacio, en estudios privados, salas de arte y espacios públicos por toda la ciudad. Se presentarán dos performances duracionales: uno en un espacio cerrado y otro al aire libre. El público puede entrar y salir como lo desee. Al final de la presentación, se compartirá una comida.

Participating artists/Artistas Participantes: Gustavo Alvarez (Mexico), John Burtle, Mariel Carranza, Rochelle Fabb, Douglas Green, Rebeca Hernandez, Benjamin Jarrett (USA/Hungary), Carol McDowell, Fausto Mendez Luna (Mexico), Lala Nomada (Mexico/Austria), Paul Outlaw, Graciela Ovejero Postigo (Argentina), Crystal Sepúlveda (Puerto Rico/USA), Cecilia Stelini (Brazil), Rossen Ventislavov, Allison Wyper

VENUE/LUGAR HUMAN RESOURCES L A & SECRET OUTDOOR LOCATION



TIME/HOR ARIO SUN/DOM 4:00 —7:00PMSAT/SAB 3:00 — 6:00PM

For more informat ion, v is i t REDCAT.org/fest ival .

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ALEXIA MIRANDA

MEMORIA SONORA EL SALVADOR

Salvadoran performance artist and activist Alexia Miranda engages several other festival artists and guests in a sonic community ritual that creates a collective, global voice amidst a world fractured by conflict. Memoria Sonora is a participatory musical and ritual performance for a group of artists arranged in a large circle in an outdoor location. A composed score of music and spoken word is the basis for an improvised collective work that reflects on sound as a particular language of vibration and a momentarily shared consciousness.IN COLLABORATION WITH EL PUEBLO DE LOS ANGELES

La artista y activista salvadoreña Alexia Miranda involucra a otros artistas e invitados del festival en un ritual comunitario sónico que crea una voz colectiva y global en medio de un mundo fracturado por el conflicto. En Memoria Sonora un grupo de artistas forma un gran círculo en un espacio al aire libre, generando un musical participativo y un performance ritual. Una partitura compuesta de música y palabra hablada es la base de un trabajo colectivo improvisado que refleja el sonido como un lenguaje particular de vibraciones y una conciencia momentáneamente compartida.

VENUE/LUGAR EL PUEBLO DE LOS ANGELES PL A Z A


DATE/FECHA JANUARY 14 & 16 14 & 16 DE ENERO

TIME/HOR ARIO SUN/DOM 3:00PM TUES/MAR 3:00PM

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TEATRO LÍNEA DE SOMBRADURANGO 66MEXICO

A cavernous underground urban space is transformed for this industrial-strength installation/performance using construction vehicles, tons of soil, and giant projections. Mexican performance collective Teatro Línea de Sombra’s Durango 66 draws connections between the student protest movement in Mexico in the 1960s and the recent tragic massacres in Mexico due to crime syndicates and government conspiracy, including the discovery of mass graves in Durango in 2011, and other recent atrocities. The piece resumes the action taken by a group of students in Durango almost fifty years ago, seeking to reflect on how the social risks involved in privatization and corporate overexploitation of natural resources were not perceptible at the time. Performed in Spanish and English, with English surtitles.

Un espacio urbano subterráneo será transformado por medio de este performance en una instalación industrial utilizando grúas, toneladas de tierra y proyecciones gigantes. Durango 66 del colectivo de performance mexicano Teatro Línea de Sombra traza conexiones entre el movimiento estudiantil de protesta en México en la década de 1960 y las recientes masacres en el país, cometidas por el crimen organizado en connivencia con el gobierno, incluyendo el descubrimiento de fosas comunes en Durango en 2011 y otras atrocidades. La pieza resume la acción tomada por un grupo de estudiantes en Durango hace casi cincuenta años e intenta pensar cómo los riesgos sociales involucrados en la privatización y la sobreexplotación corporativa de los recursos naturales no fueron percibidos en aquél entonces. Presentación en español con supertítulos en inglés.

VENUE/LUGAR LOWER GR AND (REDCAT)


DATE/FECHA JANUARY 16 —1816 —18 DE ENERO

TIME/HOR ARIO TUES —THURS/MAR—JUE 8:30PM

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NAO BUSTAMANTETEACH ME SPANISH/ ENSÉÑAME AL ESPAÑOL

At a portable kiosk at the bustling MacArthur Park market, artist Nao Bustamante will invite participants to help her learn Spanish in a live, interactive environment. Many second- or third-generation Latinx immigrants in California have lost their mother tongue, in a phenomenon common enough to have earned its own slang term, “Pocho/a.” Bustamante examines the cultural shame of not speaking Spanish in this participatory performance, in which other kinds of cultural exchange may also be explored, as participants go through the process of teaching the language through conversation, giving tests, and making flashcards. The outcome is an appreciation for Spanish speakers, and for those who are willing to learn and engage. DEVELOPED IN PARTNERSHIP WITH THE BROAD AND COMMUNITY ARTS RESOURCES

En un quiosco portátil instalado en el bullicioso mercado de MacArthur Park, la artista Nao Bustamante invita a los participantes a enseñarle español en vivo, en un entorno interactivo. Muchos inmigrantes latinx de segunda o tercera generación en California han perdido su lengua materna, un fenómeno lo suficientemente común como para haberse ganado su propio término slang: “Pocho / a.” En este performance, Bustamante explora la vergüenza cultural de no saber español e investiga distintos modos de intercambio cultural con la audiencia, a través del acto de enseñar, dar exámenes y fabricar tarjetas didácticas, resaltando la importancia tanto de los hispanohablantes, como de la disposición a aprender y participar.

VENUE/LUGAR WESTLAKE/MACARTHUR PARK MARKET



TIME/HOR ARIO WED/MIE 1 1 :00AM —5:00PM

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ARTEMISA CLARK LA CLASE DE DIBUJO LIBRE/ FREE DRAWING CLASS (2000-2004/2017)PRESENTED IN PARTNERSHIP WITH ARMORY CENTER FOR THE ARTS

Los Angeles-based performance and installation artist Artemisa Clark recreates a street action originally performed by artist/activist Ema Villanueva, who presented a series of performances in Mexico City’s public plazas in the early 2000s. Villanueva posed as a model, using the academic practice of drawing from a live nude to reflect on contemporary social issues such as feminism and social justice. Villanueva used the objectification of her own body as a means to bring attention to pressing topics of the day. In this performance, Clark considers Villanueva’s actions while offering another interpretation of the traditional role of the model.

La artista de performance e instalación con base en Los Ángeles, Artemisa Clark, reactivará una acción callejera interpretada originalmente por la artista y activista Ema Villanueva en las plazas públicas de la Ciudad de México, a principios de la década de 2000. Villanueva se hizo pasar por modelo, utilizando la práctica académica del dibujo de figuras desnudas para reflexionar sobre temas sociales contemporáneos como el feminismo y la justicia social. En esta re-presentación, Clark considera las acciones de Villanueva ofreciendo otra interpretación del papel tradicional de la modelo.

VENUE/LUGAR ARMORY CENTER FOR THE ARTS



TIME/HOR ARIO WED/MIE 1 :30 — 4:00PM

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GRUPO CULTURAL YUYACHKANI DISCURSO DE PROMOCIÓNPERU

“Yuyachkani” is a Quechuan word meaning “I am thinking, I am remembering.” Since 1971, Grupo Cultural Yuyachkani has devoted itself to the collective exploration of embodied social memory, particularly in relation to questions of ethnicity, violence, and memory in Peru. Incorporating visual arts, theatricality, and poetics of found objects, their multidisciplinary performance Discurso de Promoción confronts a narrative of revisionist history they perceive in public relations campaigns about Peru’s upcoming 2021 Bicentennial. Historical representations and allegories revise legends, myths and characters, as well as specific episodes of recent Peruvian history. Performed in Spanish with English translation.

“Yuyachkani” es una palabra quechua que significa “Estoy pensando, estoy recordando”; desde 1971, el grupo se ha dedicado bajo este nombre a la exploración colectiva de la memoria social de los cuerpos, particularmente en relación con cuestiones de etnicidad, violencia y memoria en el Perú. Incorporando artes visuales, teatralidad, y la poética de objetos encontrados, la presentación multidisciplinaria del Colectivo, Discurso de Promoción es una propuesta política que se enfrenta a la historia revisionista que el Grupo percibe en campañas de relaciones públicas del Perú sobre el cumplimiento del bicentenario del país, en 2021.

VENUE/LUGAR REDCAT (THEATER)


DATE/FECHAJANUARY 18 —2018 —20 DE ENERO

TIME/HOR ARIO THURS/JUE & FRI/VIE 8:00PM SAT/SAB 7:00PM

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VARIEDADES

LA-based performers Rubén Martínez and Raquel Gutiérrez host VARIEDADES, an interdisciplinary performance that brings together music, spoken word, theater, comedy and the visual arts, loosely based on the Mexican vaudeville shows of early 20th century Los Angeles where Martínez’s grandparents performed in a musical duo—approaching history in an interdisciplinary fashion, with song and comedy and performance art, with political and intellectual and aesthetic depth. The evening, produced and curated by Marcus Kuiland-Nazario, features performances by Alice Bag, Nao Bustamante, Dynasty Handbag, Selene Luna, Cheech and Natasha Marin, Karen Tongson, Dorian Wood and others.

Los artistas radicados en Los Ángeles Rubén Martínez y Raquel Gutiérrez presentan VARIEDADES, espectáculo interdisciplinario que reúne música, palabra hablada, teatro, comedia y artes visuales, basado en un show de vodevil mexicano que los abuelos de Martínez interpretaron, como dúo musical a principios del siglo XX, en Los Ángeles. Acercándose a la historia de una manera interdisciplinaria, con una interpretación artística de vanguardia profundamente política, intelectual y estética, la noche (curado y producida por Marcus Kuiland-Nazario) contará con actuaciones de Alice Bag, Nao Bustamante, Dynasty Handbag, Selene Luna, Cheech y Natasha Marin, Karen Tongson, Dorian Wood y otros.

VENUE/LUGAR THE MAYAN THEATER

ADMISSION/ADMISIÓN $10


TIME/HOR ARIO THURS/JUE 9:00PM

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NAUFUS RAMÍREZ-FIGUEROAEL CORAZÓN DEL ESPANTAPÁJAROS (HEART OF THE SCARECROW)GUATEMAL A

PRESENTED IN PARTNERSHIP WITH LACMA (LOS ANGELES COUNTY MUSEUM OF ART)

Guatemalan artist Naufus Ramírez-Figueroa’s participation in A Universal History of Infamy is an installation and a performance titled El Corazón del espantapájaros (Heart of the Scarecrow), after a play by Guatemalan playwright Hugo Carrillo. The costumes and props in the installation are activated for the performance by five LA- based performers working under the direction of the artist. Despite the critical success of the play in the 1960s, a 1975 student production faced brutal repression and censorship, which led to the cancellation of the show and the company’s entire theatrical season. Theater and political resistance continues to be a line of research for Ramírez-Figueroa.

El artista guatemalteco Naufus Ramírez-Figueroa participa en Historia universal de la infamia con una instalación y un performance titulado El Corazón del espantapájaros, a partir de la obra del dramaturgo guatemalteco Hugo Carrillo. El vestuario y los accesorios de la instalación serán activados por cinco artistas de L.A. bajo la dirección del artista. Pese al éxito crítico de la obra en la década de 1960, una producción estudiantil de 1975 fue brutalmente reprimida y censurada, lo que llevó a la cancelación del espectáculo y de toda la temporada teatral de la compañía. El teatro y la resistencia política continúan siendo una línea de investigación para Ramírez-Figueroa.

VENUE/LUGAR L ACMA (RODIN SCULPTURE GARDEN)



TIME/HOR ARIO FRI/VIE 4:00PM & 6:00PM

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OSCAR SANTILLÁN CORRESPONDANCES (AFTER CHARLES BAUDELAIRE)ECUADOR

PRESENTED IN PARTNERSHIP WITH LACMA (LOS ANGELES COUNTY MUSEUM OF ART)

For Correspondances (after Charles Baudelaire), Ecuadorian artist Oscar Santillán devised a simple data visualization system that allows an opera singer to read the cracks of a building as musical notation, transforming crevices and fissures in the architecture into sound. Santillán is one of the participating artists in A Universal History of Infamy at LACMA. Correspondances (after Charles Baudelaire) was first performed in Paris in 2013. Soprano Juliana Snapper will perform.

Para Correspondances (después de Charles Baudelaire), el artista ecuatoriano Oscar Santillán ideó un sistema simple de visualización de datos que permite a un cantante de ópera leer las grietas de un edificio como notación musical, transformando las fisuras de la arquitectura, en sonido. Santillán es uno de los artistas participantes en la exhibición Historia universal de la infamia en LACMA. Correspondances (después de Charles Baudelaire) se presentó por primera vez en París en 2013. Interpreta la soprano Juliana Snapper.

VENUE/LUGAR L ACMA (L A TIMES CENTR AL COURT)



TIME/HOR ARIO FRI/VIE 5:00PM

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MERCEDES AZPILICUETA LA FACULTADARGENTINA

Mercedes Azpilicueta’s performance La Facultad introduces multiple narratives as a body moving in the space activates different voices, sound clips, and projected images. The script features two characters: Yuko, a survivor of the U.S. attack on Hiroshima in 1945; and Justine, the main fictional character of the book Justine or The Misfortunes of Virtue (1787) by the Marquis de Sade. The two voices are selected from The Words of Others (1967), a literary collage by Argentine artist León Ferrari. Other sources used in the work include poetry of Chicana artist Gloria Anzaldúa, the illustrations of Justine by Czech transgender artist Toyen (aka Marie Čermínová), and gestures from singer Mina Mazzini.

El performance de Mercedes Azpilicueta La Facultad, introduce múltiples narrativas a partir de su propio movimiento en el espacio, al mismo tiempo que activa diferentes voces, sonidos, e imágenes proyectadas. El guión cuenta con dos personajes: Yuko, una sobreviviente del ataque estadounidense a Hiroshima en 1945; y Justine, el personaje de ficción del libro Justine o los infortunios de la virtud (1787) del Marqués de Sade. Las dos voces se eligieron de Palabras ajenas (1967), un collage literario del artista argentino León Ferrari. Otras fuentes utilizadas en el trabajo incluyen la poesía de la artista Chicana Gloria Anzaldúa, las ilustraciones de Justine por la artista transgénero Checo Toyen (aka Marie Čermínová), y los gestos de la cantante Mina Mazzini.

VENUE/LUGAR REDCAT (GALLERY)



TIME/HOR ARIO SAT/SAB 5:00PM

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CARMEN ARGOTEIF ONLY IT WERE THAT EASY…PRESENTED IN PARTNERSHIP WITH 18TH STREET ARTS CENTER

Artist Carmen Argote invites LA-based artists and cultural workers who ride motorcycles to collectively teach her and help her develop the skills necessary to complete a cross-border journey from Guadalajara back to LA on her father’s prized Moto Guzzi motorcycle, reversing a journey he made in the year 2000. Each person who agrees to impart their motorcycle know-how will be invited to develop a set of instructions and tasks, pertaining to both riding and potentially fraught social interactions, that will comprise the performance score.COMMISSIONED AND ORGANIZED BY 18TH STREET ARTS CENTER

Carmen Argote invita a artistas y trabajadores culturales de Los Ángeles que andan en motocicletas a enseñarle a conducir y a desarrollar las habilidades necesarias para completar un viaje desde Guadalajara hasta Los Ángeles en la preciada motocicleta Moto Guzzi de su padre, revirtiendo un viaje que éste hiciera en el año 2000. Cada persona que acepte impartir sus conocimientos de motociclismo será invitada a desarrollar un conjunto de instrucciones y tareas relacionadas con la conducción y con las posibles interacciones sociales, potencialmente tensas, a partir de las cuales se constituirá la notación del performance.

VENUE/LUGAR GRIFFITH PARK



TIME/HOR ARIO SAT/SAB 1 :00PM

51

CARLOS MARTIEL, ANDIL GOSINE AND JIMMY ROBERT REPRESENTATIONAL ACTS: AMÉRICA/ OUR HOLY WATERS AND MINE/ ABOLIBIBELOPRESENTED IN PARTNERSHIP WITH MUSEUM OF LATIN AMERICAN ART (MOLAA)

Representational Acts features three artists representing linguistic regions of the Caribbean: Carlos Martiel (Cuba), Andil Gosine (Trinidad), and Jimmy Robert (Guadeloupe). Martiel, known for putting his body in extreme situations as a means of calling attention to social injustices and marginalized peoples, performs América with 116 stars from the flags of all the countries in the Western hemisphere fixed to his body. Gosine’s Our Holy Waters and Mine draws from his background as a queer Indo-Trinidadian man, using water, a bucket and multiple glass jars to metaphorically trace the ancestral journey from India to Trinidad, as well as his own travels. Robert continues his exploration of the performative dimension of inanimate objects in Abolibibelo, appearing in a costume resembling carnival attire, made entirely of white rolls of paper.

Representational Acts presenta a tres artistas de distintas regiones lingüísticas del Caribe: Carlos Martiel (Cuba), Andil Gosine (Trinidad) y Jimmy Robert (Guadalupe). Martiel, conocido por poner su cuerpo en situaciones extremas para llamar la atención sobre las injusticias sociales y los pueblos marginados, interpreta América con 116 estrellas de las banderas de todos los países del hemisferio occidental fijadas a su cuerpo. Gosine‘s Our Holy Waters and Mine aborda su experiencia como hombre queer, indo-trinitario, utilizando agua, un cubo y múltiples jarras de vidrio para trazar metafóricamente el viaje ancestral desde la India a Trinidad, así como sus propias travesías. Robert continúa su exploración de la dimensión performativa de los objetos inanimados en Abolibibelo, vistiendo un traje que se asemeja a un atuendo de carnaval, hecho enteramente de rollos de papel blanco.

VENUE/LUGAR MOLAA



TIME/HOR ARIO SAT/SAB 6:00 — 8:30PMC

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NAOMI RINCÓN GALLARDOTHE FORMALDEHYDE TRIPMEXICO

PRESENTED IN PARTNERSHIP WITH THE BROAD

Presented as part of The Broad’s series En Cuatro Patas (On All Fours), featuring feminist Latinx performance and media artists who ruminate on and fantasize alternative embodiments, The Formaldehyde Trip is a speculative fiction comprising a cycle of songs and videos dedicated to murdered Mixtec activist Bety Cariño. By deploying Mesoamerican cosmologies and decolonial feminist perspectives, crafty and ornate props and stages, echoes from Mexican B movies and sci-fi films from the 1960s and ’70s, sounds and voices from the past lurking into the future, and lyrics addressing women’s struggles against the dispossession of their lands, bodies and cultures, The Formaldehyde Trip imagines Bety Cariño’s journey to the underworld, where she finds women warriors, witches and widows, both-sexed deities and animals preparing her re-birth party.

Como parte de la serie de The Broad En Cuatro Patas, que presenta artistas feministas Latinxs de performance y de medios que rumian y fantasean corporalidades alternativas, El viaje de formol es una ficción especulativa que consiste en un ciclo de canciones y videos dedicados a Bety Cariño (1973-2010), activista mixteca defensora de los derechos de los pueblos y territorios indígenas asesinada en 2010 en una emboscada paramilitar. El viaje de formol despliega ecos de cosmologías mesoamericanas, referencias al cine mexicano de ciencia ficción de los 60s y 70s, voces visionarias del pasado cantando hacia el futuro, y letras de canciones inspiradas en luchas de mujeres contra el despojo de sus territorios, cuerpos y vidas. El viaje de formol imagina el trayecto de Bety al inframundo, donde encuentra guerreras, brujas y viudas, animales y deidades con ambos sexos preparando su fiesta de retorno.

VENUE/LUGAR THE BROAD

ADMISSION/ADMISIÓN $25


TIME/HOR ARIO SAT/SAB 7:30PM & 9:30PM

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RAFA ESPARZAcumbre: look as far as you can see in every direction— north and south, east and westPRESENTED IN PARTNERSHIP WITH MOCA (THE MUSEUM OF CONTEMPORARY ART)

In this newly commissioned work, Rafa Esparza will present an ambitious three-part performance at The Geffen Contemporary at MOCA. Esparza’s point of departure is a meditation on bridges and bodies of waters as sites of connection and healing, as well as spaces of division and risk. The artist’s actions respond to personal familial histories of immigration into the United States and the deeply complex history of downtown Los Angeles. He will be joined by artist Sebastian Hernandez in a special collaboration for the final segment of the performance.

En esta nueva comisión, Rafa Esparza presenta una ambiciosa actuación en tres partes en Geffen Contemporary MOCA. El punto de partida de Esparza es una meditación sobre puentes y masas de agua como sitios de conexión y curación, así como espacios de división y riesgo. Las acciones del artista responden a historias las personales de familias que inmigraron a los Estados Unidos y a la compleja historia del centro de Los Ángeles. A él se unirá el artista Sebastian Hernandez en una colaboración especial para el segmento final de la presentación.

VENUE/LUGAR THE GEFFEN CONTEMPOR ARY AT MOCA



TIME/HOR ARIO SUN/DOM 3:00PM

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JANUARY 2018

117:00pm SYLVIA PALACIOS WHITMAN

8:00pm LAGARTIJAS TIRADAS AL SOL Tijuana

9:00pm ASTRID HADAD I Am Made in Mexico

11am—5pm NAO BUSTAMANTE Teach Me Spanish/Enséñame al Español

1:30—4:00pm ARTEMISA CLARK La clase dibujo libre/ Free Drawing Class

8:30pm TEATRO LÍNEA DE SOMBRA Durango 66

3:00pm ALEXIA MIRANDA Memoria Sonora


8:00pm GRUPO CULTURAL YUYACHKANI Discurso de Promoción


9:00pm VARIEDADES

FRIDAY SATURDAY SUNDAYTUESDAY WEDNESDAY THURSDAY

19 20 21 16 17 18

12 13 146:00—9:00pm LIVE ARTISTS LIVE Simultaneity

8:00pm LAGARTIJAS TIRADAS AL SOL Tijuana

8:00pm LIGIA LEWIS minor matter

10:00am—10:00pm LIVE ARTISTS LIVE Simultaneity

12:00—4:00pm EDGAR FABIÁN FRÍAS Cuerpos Unidos

1:00—5:00pm CARMINA ESCOBAR FIESTA PERPETUA!

6:00pm SYLVIA PALACIOS WHITMAN


11:00am—2:00pm RAUL BALTAZAR Mi Sereno

3:00pm LORENA WOLFFER If She is Mexico, Who Beat Her Up?

3:00pm ALEXIA MIRANDA Memoria Sonora

4:00—7:00pm ENCOUNTER Encounter #43


4:00pm NAUFUS RAMÍREZ-FIGUEROA El Corazón del espantapájaros (Heart of the Scarecrow)

5:00pm OSCAR SANTILLÁN Correspondances (after Charles Baudelaire)

6:00pm NAUFUS RAMÍREZ-FIGUEROA El Corazón del espantapájaros (Heart of the Scarecrow)


1:00pm CARMEN ARGOTE If only it were that easy…

3:00—6:00pm ENCOUNTER Encounter #44

5:00pm MERCEDES AZPILICUETA La Facultad

6:00—8:30pm REPRESENTATIONAL ACTS

6:00—10:00pm COLECTIVO AM La Pista de Baile


7:30pm NAOMI RINCÓN GALLARDO The Formaldehyde Trip

9:30pm NAOMI RINCÓN GALLARDO The Formaldehyde Trip

11:00am—2:00pm RAUL BALTAZAR Mi Sereno

3:00pm RAFA ESPARZA cumbre: look as far as you can see in every direction—north and south, east and west

VARIOUS TIMES AND LOCATIONS THROUGHOUT FESTIVAL: OPAVIVARÁ! TRANSNÔMADES

COLECTIVO AM Banco Universal de Pasos/ Living Research Station

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REDCATROY AND EDNA DISNEY/ CALARTS THEATER

PACIFIC STANDARD TIME FESTIVAL: LIVE ART LA/LA

REDCAT is a multidisciplinary center for innovative visual, performing and media arts founded by CalArts in the Walt Disney Concert Hall complex in downtown Los Angeles. 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 CalArts, its parent organization, by encouraging experimentation, discovery and lively civic discourse.

REDCAT.org

From the opening celebration to other social events, the Pacific Standard Time Festival: Live Art LA/LA fosters meaningful dialogue through conversations, post-performance discussions and practice-oriented workshops presented in partnership with festival partners. Audiences and artists alike are encouraged to join in as on some of the world’s leading creators share insight, methodologies, and experiences that form the basis of work, and offer reflections on the topics that drive their current explorations.

Many events are free (and most ticketed events cost $15 or less). For box office or reservation information, see the individual event pages.

Visit REDCAT.org/festival for information.

A partir de la ceremonia de apertura y a través de varios eventos públicos, el Pacific Standard Time Festival: Live Art LA/LA fomenta un diálogo significativo a través de conversaciones, presentaciones seguidas por debates abiertos y talleres orientados a la práctica con los artistas, los colectivos y las instituciones que participan en el festival. Tanto el público como los artistas, son invitados a participar de este acontecimiento y compartir sus conocimientos, metodologías y experiencias.

Muchos eventos son gratuitos (y la mayoría de los eventos con boleto cuestan $15 o menos). Para obtener información sobre la taquilla o reservas, consulte las páginas de eventos individuales.

Visita REDCAT.org/festival para información.

CALARTS

California Institute of the Arts is an internationally recognized pacesetter in the education of professional artists. Offering rigorous undergraduate and graduate degree programs through six schools—Art, Critical Studies, Dance, Film/Video, Music, and Theater—CalArts has championed creative excellence, critical reflection, and the development of new forms and expressions. As successive generations of faculty and alumni have helped shape the landscape of contemporary arts, the Institute first envisioned by Walt Disney encompasses a vibrant, eclectic community with global reach, inviting experimentation, independent inquiry, and active collaboration and exchange among artists, artistic disciplines and cultural traditions. Based in Valencia, north of Los Angeles, CalArts further extends its commitment to the arts through REDCAT and the nationally emulated Community Arts Partnership (CAP) youth arts education program.

CALARTS.edu

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REDCAT STAFF

Mark Murphy Executive Director

Ruth Estévez Gallery Director and Curator

Edgar Miramontes Associate Director

Sohrab Mohebbi Associate Curator

Bill Ballou Technical Director

Yi Chang Box Office Manager

Kelly Hargraves Marketing & Media Manager

Matthew Johns Assistant Technical Director, Lighting

Pete Pace Assistant Technical Director, Sound/Video

Michael Kindle Facility Operations & Installation Manager

Jordan Elizabeth House Manager

Rolando Rodriguez Administrative Coordinator

Elena Minor Finance & Personnel Manager

Cory Beers Lounge Manager

Sally Bickerton Director of Leadership Gifts, Office of Advancement

Carmen Amengual Curatorial Associate

Teresa Hartmann Production Coordinator Pacific Standard Time Festival: Live Art LA/LA

REDCAT COUNCIL

Diane Levine, Chair

Harriett F. Gold, Vice Chair

Edgar D. Arceneaux

Neda Disney

Tim Disney

Fariba Ghaffari

Richard J. Grad

Stephen A. Kanter, M.D.

William S. Lund

R. Stephen Maguire

Antonio Mejias-Rentas

Seth Polen

Kevin Ratner

Lynn Rosenfeld

Araceli Ruano

Abby Sher

Dorothy R. Sherwood

Michael Skloff

Eve Steele

Adele Yellin

ARMORY CENTER FOR THE ARTS 145 N Raymond Ave Pasadena, CA 91103 www.armoryarts.org

ASCOT HILLS PARK 4371 Multnomah St Los Angeles, CA 90032 www.laparks.org/park/ascot-hills

THE BROAD 221 S Grand Ave Los Angeles, CA 90012 www.thebroad.org

ECHO PARK LAKE 751 Echo Park Ave Los Angeles, CA 90026 www.laparks.org/aquatic/lake/echo-park-lake

EL PUEBLO DE LOS ANGELES PLAZA 125 Paseo De La Plaza Los Angeles, CA 90012 www.elpueblo.lacity.org

THE GEFFEN CONTEMPORARY AT MOCA 152 N Central Ave Los Angeles, CA 90012 www.moca.org

GRIFFITH PARK 4730 Crystal Springs Dr. Los Angeles, CA 90027 www.laparks.org/griffithpark

LACE (LOS ANGELES CONTEMPORARY EXHIBITIONS) 6522 Hollywood Blvd Los Angeles, CA 90028 www.welcometolace.org

LACMA (LOS ANGELES COUNTY MUSEUM OF ART) 5905 Wilshire Blvd Los Angeles, CA 90036 www.lacma.org

THE MAYAN THEATER 1038 S Hill Street (between Olympic & W 11th St) Los Angeles, CA 90015 www.clubmayan.com

MUSEUM OF LATIN AMERICAN ART (MOLAA) 628 Alamitos Ave Long Beach, CA 90802 www.molaa.org

HUMAN RESOURCES LA 410 Cottage Home St Los Angeles, CA 90012 www.humanresourcesla.org

REDCAT (Theater, Gallery and Lower Grand) 631 W 2nd Street Los Angeles, CA 90012 REDCAT.org

SKIRBALL CULTURAL CENTER 2701 N Sepulveda Blvd Los Angeles, CA 90049 www.skirball.org

USC GRADUATE FINE ARTS BUILDING (IFT) 3001 S Flower Street Los Angeles, CA 90007 www.roski.usc.edu

VINCENT PRICE ART MUSEUM (VPAM) 1301 Avenida Cesar Chavez Monterey Park, CA 91754 www.vincentpriceartmuseum.org

WESTLAKE/MACARTHUR PARK MARKET (outside the Metro station) 662 S Alvarado Los Angeles, CA 90057

LOCATIONS/LUGARES

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T INDEX18th Street Art Center, 49Alvarez, Gustavo, 29Argote, Carmen, 49Armory Center for the Arts, 27, 37Azpilicueta, Mercedes, 47Bag, Alice, 41Baltazar, Raul, 25Broad, The, 35, 53Burtle, John, 29Bustamante, Nao, 19, 35, 41Carranza, Mariel, 29Clark, Artemisa, 37Colectivo AM, 17Contreras, Irina, 23Cortez, Beatriz, 19Dominguez, Cesia, 23Encounter, 29Escobar, Carmina, 21Esparza, Rafa, 19, 55Fabb, Rochelle, 29Frías, Edgar Fabián, 23Gosine, Andil, 51Green, Douglas, 29Gutiérrez, Raquel, 41Hadad, Astrid, 9Hammer Museum, 11Handbag, Dynasty, 41Hernandez, Rebeca, 29Hernandez, Sebastian, 55Ibarra, Xandra, 19Jarett, Benjamin, 29Kuiland-Nazario, Marcus, 19, 41LACE (Los Angeles Contemporary

Exhibitions), 17LACMA (Los Angeles County Museum

of Art), 43, 45Lagartijas Tiradas al Sol, 13Lewis, Ligia, 15Luna, Fausto Mendez, 29Luna, Selene, 41

Machine Project, 21Maqueos Music, 21Marin, Cheech, 41Marin, Natasha, 41Martiel, Carlos, 19, 51Martínez, Rubén, 41McDowell, Carol, 29Miranda, Alexia, 31MOCA (Museum of Contemporary Art), 55MOLAA (Museum of Latin American Art), 51Negrón, Mickey, 19Nomada, Lala, 29Oguri, 21OPAVIVARÁ!, 7Outlaw, Paul, 29Palacios Whitman, Sylvia, 11Postigo, Graciela Ovejero, 29Ramírez-Figueroa, Naufus, 43Robert, Jimmy, 51Rodríguez, Gabino, 13Santillán, Oscar, 45Sepúlveda, Crystal, 29Skirball Cultural Center, 13Stelini, Cecilia, 29Taylor, Diana, 19Teatro Línea de Sombra, 33Tongson, Karen, 41Vallejo, Cindy, 23Variedades, 41Ventislavov, Rossen, 29Villalobos, Freddy, 23Villanueva, Ema, 37USC Roski School of Art & Design/

Visions & Voices, 19Vincent Price Art Museum, 23Wolffer, Lorena, 27Wood, Dorian, 19, 41Wyper, Allison, 29Yuyachkani, Grupo Cultural, 39

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