Archive for noise

MOCA Members’ Day Celebration: Mike Kelley, with presentations by Anita Pace, Kim Gordon and Jutta Koether, The Geffen Contemporary at MOCA, March 30, 2014

Posted in reviews and commentary with tags , , , , , , , , , , on March 31, 2014 by Carol Cheh


What an emotional weekend for the long-beleaguered MOCA. The museum simultaneously debuted their new director, Philippe Vergne, and brought home the biggest survey exhibition to date of Los Angeles’ most beloved prodigal art son, Mike Kelley. At Friday’s media preview, it seemed like the last five years (dear God, has it really been that long?) were just a really bad acid trip out of which we suddenly, collectively awoke.

Check it: MOCA has a director who acts like an art museum director and seems like a really cool guy to boot. The Geffen is beautifully installed with important work by an internationally regarded artist with deep ties to the local community. Artists are back on the MOCA board. It was a spectacularly sunny spring day in LA and everything seemed to make sense again, at last.

The sunshine and festivities continued throughout the weekend, concluding on Sunday with the Members’ Day celebration, which featured two special performances: a restaging of Pansy Metal / Clovered Hoof, a 1989 dance piece choreographed by Kelley and Anita Pace (and danced in the present day by Erica Carpenter, Beau Dobson, Lindsey Lollie and Jos McKain), and a spoken word/noise tribute from longtime Kelley pals Kim Gordon and Jutta Koether.

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Dawn Kasper, Karen Adelman, Tara Jane ONeil, Alejandra Herrera, and Marilyn Arsem, Free Clinic #2, curated by The Action Bureau, Human Resources, October 13, 2011

Posted in reviews and commentary with tags , on October 24, 2011 by Carol Cheh

The above image captures one of my favorite things in Free Clinic #2, a suite of three performances by women artists curated by The Action Bureau. It’s the “score” that Karen Adelman worked from as she improvised primal screaming noises to accompany the ongoing OCD hoarding adventures of Dawn Kasper, while musician Tara Jane ONeil worked a drum set, a noise machine, and various objects.

In a sharp departure from her recent series focusing on popular song, Adelman channeled Diamanda Galás and Yoko Ono as she ventured fearlessly into the world of operatic noise. The work, titled Meditations in a Fucked Up Emergency, began powerfully in the dark with Adelman letting out several prolonged shrieks from the outer rungs of hell to announce the start of the piece. ONeil devised mysterious percussive and ambient noises in the background as Adelman continued her wordless sonic venturing, reaching for booming highs as well as moody, irregular lows.

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Faüxmish, Human Resources, Chinatown, September 2, 2011

Posted in reviews and commentary with tags , , , , , , , , on September 4, 2011 by Carol Cheh

Faüxmish (L to R: Doug Harvey,
Marnie Weber, and Dani Tull)

Following the epic retirement of the Spirit Girls at Mountain View Cemetery and Mausoleum almost a year ago, evergreen punk gamine Marnie Weber has moved on to her newest venture—an Amish-themed noise band collaboration with fellow artist musicians Doug Harvey and Dani Tull, stylishly named Faüxmish.

Why an Amish noise band, you might ask? Oh why not, Weber would say. It was something that didn’t yet exist in the world, therefore it needed to come into being. The band’s press release further elucidates: “Faüxmish is a Los Angeles art-rock supergroup that came together over a shared engagement with American spiritual sects who remove themselves from established social norms and create their own culture as outsiders.”

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