Curated by: Sayon Syprasoeuth and Michael EB Detto
OCCCA is pleased to present Cabinet of Ghosts - a group exhibition, which gathers new work from artists exploring the aftermath of the catastrophe, the genocide, or the war. How should we treat memories we leave behind – in real life, as metaphor, as a tool?
The very own substantiality each one thing in itself exhibits, its innate properties, its relation to subject, time space, and language are altogether qualities which suddenly start to dissipate when we have to deal with ghosts. It is hard even to agree on one word for them: there are specters, phantoms and wreath, genie and spirit, the apparition and many other denominations to describe a phenomenon that tends to blur the demarcation line between subject and object, past and presence, here and there.
Cultural memory is collective memory, and the artist is part of it. Today’s notions of history and memory may be flawed and disputed, but they are especially problematic for the individual that experienced the disaster. It was repeatedly noted: the silence of the victims – when they talk, the suffering will be stretched into the present day, making it unbearable.
To explore the roles of artists as storytellers and researchers, or as social advocates, artists are invited to talk and present their work. They are the descendants, therefore in a better position to face the past. Initiated by Michael EB Detto’s project “Cambodian Ghosts”, Sayon Syprasoeuth and Michael EB Detto invite artists to a dialogue about their art and the ghosts of the past, and to present their work in this context.
Led by popular ethnomusicologist and composer John Zeretzke, students will investigate the connections between visual art and music, exploring the music of the spirit world in cultures around the world. We will also consider what makes music “spooky” through examining the instruments and techniques used in film and theater, followed by creating our own scary soundtrack.
The Art and Music program meets state learning standards for Visual and Performing Arts
Music Play, 2012
Artist Statement, "The Light Drawings"
After several hours of preparation, I use just a single shot to complete each image. During an exposure time of approximately one minute, I manipulate lights in front of the camera to create “Light Drawings.” Sometimes I invert the positive image to a negative one on a computer but otherwise the “Light Drawings” are not manipulated. Sometimes I put the same positive and negative images side-by-side in the finished piece.
I have been drawing with traditional mediums for twenty-eight years. I used oil painting to explore the effects of light in a 2006 solo exhibition, “See the Light,” at the Little Tokyo Cultural Center, partnered with Helen Keller International. I became curious about the effects of lights in motion. Could this become the basis of a new kind of drawing? I experimented with cameras and lights until I was able to spontaneously tap into decades of drawing experience while the camera’s shutter was open, bringing life to a series of “Light Drawings.”
The technique originated in 1914 when scientists Frank and Lillian Gilbreth used small lights and an open shutter to track the motions of factory workers. My light drawings are inspired by Jackson Pollock and Cy Twombly whose paintings are composed with spontaneous actions, performances traced in time.
In my Zen Buddhist meditation practice, the lights bend like a reed in the breeze, or soar freely as a bird above a cliff, thousands of lights dancing in my mind. The inner world is clean, clear and full of fresh air. Thousands of lights move as a wave. The secrets of the universe are revealed.
Music, especially classical symphony, also shapes these visions. I draw the feelings the music brings forth, the expansive sense of flying over mountains, rivers, and oceans.
I have been an abstract painter for many years, concerned with line, shape, composition and concept. Digital photography allows me to expand creatively while using an ultra-contemporary medium with limitless potential.
Art for me is an experimental adventure, a profound form of play.
DEADLINE: May 10th
Curatated by Ginger Shulick Porcella, Executive Director, San Diego Art Institute
Moist is a tear-stained face, a risky proposition, a plea for empathy. Moist revels in the fluidity of sexual identity. In these tender transgressions beats the heart of the world.
Moist is about ‘the trespass sweetly urged,’ as Shakespeare wrote. To love is to be brushed by the wings of madness and to suffer the pangs of the impossible in moments of jouissance. A confluence of energies sublime will transcend our differences as barriers keeping us apart evaporate in a halo of bliss.
Painting, drawing, collage, assemblage, sculpture, photographs, videos, performance art and displays of fashion are all invited. The opening night of the exhibition will be a gathering of the tribes, a launch party for the enticing Moist catalogue of accepted works.
Moist casts a look at sensuality, sexuality and eroticism in today’s art, giving free reign to desire.
Ginger Shulick Porcella is an arts administrator and curator whom recently relocated from New York City to San Diego to join the San Diego Art Institute as its Executive Director. Porcella is the founder of Big Deal Arts, and previously served as the Executive Director of Art Connects New York, the Managing Director of Flux Factory, and the Director of Grants and Community Development at Staten Island Arts. As an independent curator, Porcella largely focuses on new media projects that expand the dialogue around the intersection of art, architecture, and anthropology. Porcella is an Associate Curator with Artist Pension Trust (APT Global) and has curated exhibitions for galleries and museums across the U.S. including; “LUMEN”, an international video and performance art festival (Founder and Head Curator 2010 and 2011); “Ivory Tower”, a video exhibition concurrent with Art Basel Miami Beach 2011; “The Typhoon Continues and So Do You” at Flux Factory; “The Sixth Sense and Other Myths” at NYC Industries for the Blind; the critically-acclaimed “Future/Past” at REVERSE Gallery in NYC; and most recently “Beyond Limits: Postglobal Mediations” at SDAI. Porcella’s exhibitions have been positively reviewed in The New York Times and USA Today, and her work has been featured in Hyperallergic, creem magazine, and Modern Painters. Porcella holds an M.A. in Socio-Cultural Anthropology from Columbia University and a B.A. in Art History from DePaul University.
OCCCA 35th Anniversary Show
Special Dance Performance Series
Welcoming the Future;
Welcome to the Future is an exhibition about architecture --- vernacular, canonical, and fantastical. Because every epoch demands its own forms, there is a new breed of architect-artist-designer busy devising blueprints for the future --- while asking questions about the present. Welcome to The Future will showcase works in all media, including drawing, painting, sculpture, photography, video, performance, urban parkour, graphic design, functional objects, renderings of real or imagined structures, maquettes, models, participatory installations, and computer generated projects demonstrating advancements in new geometries and materials.
OCCCA’s re-purposed industrial space is an “ideal palace” for the presentation of radical forms. Welcome to the Future offers a territory for experimentation at the intersection of art and architecture.
It is said that architects and artists have in common the act of invention, that architecture is “frozen music.” Longfellow nailed it when he wrote, apropos of Michelangelo, “Ah, to build, to build! That is the noblest of all the arts.” Architecture is imbricated with myriad contemporary concerns about the everyday, the landscape, immigration, cultural heritages, visual blight and renewal, gentrification, climate change, humanitarian crises, preservation of vintage buildings on the verge of disappearance, and city planning. And architecture always takes a starring role in science fiction’s utopian scenarios. The virtual environments of cyber space push architecture beyond physics. Architecture is implicated in the dark side of civilization with its derelict industrial ruins amid unspeakable squalor. Welcome to the Future explores the social, psychological and cultural resonance of architecture under pressure in the here and now.
From skyscraper to favela, the call goes out to artists, architects, designers, collaboratives, and creatives of all kinds: transcend the tangled histories of architecture and art, and build, build!
collaboration exhibition, call for art with (VAALA) Vietnamese Arts and Letters Associattion
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