3 x 6 x 3 #3, live works curated by Dino Dinco, Los Angeles Contemporary Exhibitions (LACE), October 20, 2011

Samuel White at LACE

I always love Samuel White’s works. He puts so much of himself into them. From naked conversations with visitors, to wrestling matches with romantic partners, to riding the mechanized bulls of Los Angeles, White always puts his psyche and his flesh on the line, as he probes the boundaries between self and other.

In response to my questions, White sent a description of his LACE performance that is so beautiful, I’m just going to paste it here: “i love LA. this was the inspiration for piece in a sense. this city is so mechanical in way yet controlled by people. as much as the bull is sensual and erotic, it’s still mechanical. and so i thought the LA industrial background would highlight this. a bull ride in the LA sunset. what can be more romantic and real than a physical whirlwind in such a beautiful place. LA has everything this performance did. a sensual ride if chosen, or a crazy spin. the situation is both set-up by the performer yet controlled by the audience. similar to everyone’s experience here in Los Angeles. you can only choose to place your selfhere. the struggle is staying on top op it, often seemingly controlled by outside forces. i say seemingly because in he end, you realize how much control you actually have had the entire journey…”

Brian Getnick was joined by Claire Cronin and Corey Fogel in a sort of musical puppet play that was catchy, surprising, and moving. The magic of Getnick’s work resides in his costumes, which have a singular style and conjure a shabbily spectacular imaginary universe. Faces and limbs come alive as though emerging out of a child’s primordial brain stew. That a fetching and poetic tune was part of the mix only iced the cake.

Somebody needs to explain Alejandra Beatriz Herrera Silva’s work to me. I watched the YouTube video of her performance at Human Resources, and I sat through probably all of the iterations of her LACE performance. The language of her work remains oblique to me—literally as well as figuratively. Large chunks of key text are in Spanish, and the work is laden with symbolism that I’m sure relates to Chilean history and politics somehow. The symbolism seemed a bit heavy-handed, but perhaps that is appropriate to her subject matter?? I don’t know… I’m tabling this one for further investigation.

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