Monthly Archives: January 2016

Special Projects Curated By A. Moret @ Installation Magazine.

Special Projects curated by A. Moret

We are excited to present a series of Special Projects around the Hotel grounds, curated by Installation Magazine Founder and Editor-in-Chief A. Moret. As a native Angeleno, A. Moret looks to the city she calls home for inspiration. A professional wordsmith, artistic director and curator, Moret revels in the collaborative process and always looks to tell the artist’s story in their own words.

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As stARTup Art Fair Los Angeles Special Projects Curator, A. Moret celebrates the following emerging voices in the Los Angeles contemporary art scene:

7×7: Scheduled readings — writer Amy Bonnaffons and artist Axel Wilhite launched 7×7 in 2015 to facilitate a new kind of interdisciplinary collaboration. Each 7×7 invites one visual artist and one writer to engage in a two-week creative conversation.

Bronwyn Lundberg: Bron of YoMeryl will be continuing her series of hand-drawn miniature portraits within the confines of her custom CleverGirl Wig stamp. Bron will travel throughout the fair, creating original portraits of visitors and given to participants as a work of art they can take home.

Chris Niemi: lives and works in Los Angeles. She received her MFA from Cranbrook Academy of Art in 2012. She explores what our experience of an object is in the world, pushing into the between spaces where nothing and everything is happening, and causing a hiccup that allows for new experiences. The object becomes more real, completely synthetic, unreal and even petrified.

Michelle Carla Handel: presents the sculptural work Big Yearn, Let Down. Handel’s work describes gaps where verbal language falls short. Emotional connection, misfiring, longing, sentiment, and urge are all free game. Forms may be supple, squishy, taut, tenuous or slack, or all of those qualities at once. They exist as open-ended suggestions reflecting states of complexity or quandry. Hard and soft, elastic, rubbery flesh-like ideas that are honest about their limitations, though they may also reveal an unlikely beauty or sensuality.

Daniel Rolnik: presents an original nativity scene adorned with original wooden cutouts of fun characters people can pose with to take photos. Join our eccentric family of a bearded best friend, a puppyfish, a fire hydrant, and a tree in the photo opportunity of a lifetime.

Emmett Methven: Video — I hope this is what you were looking for [in collaboration with Casey Calvert]

Lluy Rodrigues: “I began creating objects after a motorcycle accident left me five months immobile. Anxiety consumed my thoughts. With such apprehension, I started to explore the possibilities of creating within the art world. I have always been fascinated by fire and gasoline- how their power is beyond human control. I work with these materials to challenge the limits of creativity and canvas.”

Quam Odunsi: Youth: Women & Children, First. is an on-going exhibition of the debauchery of youth that consists of friends, lovers, sexual encounters and acquaintances — that demonstrates excess indulgence of sensual pleasures and corruption.

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Sara Clarken: Burial of Jennifer Lawrence — This twenty minute video documentation of the burial of Sara Clarken’s original work, The Fappening is a gesture of returning Jennifer Lawrence’s stolen nude from the infamous iCloud hack in 2014 back to the digital realm. Clarken originally printed one of several nudes that circulated the internet on foam in order to communicate characteristics of the digital image in modern society. She then drove to the Apple iData Center to sneak onto the property and figuratively return the stolen property ‘back to the cloud’, a mysterious convenience that lives in much of society’s tech devices. The foam not being biodegradable brings up topics of the the life of digital content, as well as technology’s effect on the tangible.

The Current Sea [Brian Griffith + Sarah Zucker]: a new media studio based in Los Angeles. NOMANNERISM is an installation of projected GIFs freed from the confines of cyberspace that play with and exaggerate the nature of the form itself. Each animation is a visual mantra, creating a sense of recursion for the viewer with every new, vividly-hued loop.

Boston.

Boston.

Son of Saul. Trailer. Géza Röhrig. Levente Molnár. Urs Rechn.

In the horror of 1944 Auschwitz, a prisoner forced to burn the corpses of his own people finds moral survival upon trying to salvage from the flames the body of a boy he takes for his son.

Saul Ausländer is a Hungarian member of the Sonderkommando, the group of Jewish prisoners isolated from the camp and forced to assist the Nazis in the machinery of large-scale extermination.

While working in one of the crematoriums, Saul discovers the body of a boy he takes for his son.

As the Sonderkommando plans a rebellion, Saul decides to carry out an impossible task: save the child’s body from the flames, find a rabbi to recite the mourner’s Kaddish and offer the boy a proper burial.

Suicide Squad. Official Trailer 1. Jared Leto. Will Smith. Margot Robbie. Ben Affleck. Viola Davis.

A secret government agency recruits imprisoned supervillains to execute dangerous black ops missions in exchange for clemency.

10 Cloverfield Lane. Trailer. John Goodman, Mary Elizabeth Winstead. John Gallagher Jr.

Her captor, a doomsday prepper, tells her he saved her life and that there has been a terrible chemical attack that has left the outside uninhabitable. She does not know what to believe and as tensions rise, she decides she must escape, regardless of the terrors that await outside.

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High-Rise. Trailer. Tom Hiddletson. Jeremy Irons. Sienna Miller. Luke Evans.

The film follows a young, respectable doctor, Robert Laing [Tom Hiddleston] who moves into a new luxury apartment seeking anonymity. The building — a Brutalist concrete tower block — is inhabited by eccentric tenants who let off steam in endless rounds of themed parties and raucous, drink-and-drug-fuelled orgies. Sitting literally atop this insular society is the high-rise’s architect and owner — Mr. Royal [Jeremy Irons] — whose penthouse suite beggars description and has nothing to do with the rest of his design. As Robert settles into his new abode without ever really unpacking properly, the tower and its social complexities begin to take over his life.

Royal says he built the high-rise as “an agent for change,” but what Ballard and Wheatley both focus on is the class strife brewing between residents of the upper and lower floors. What starts out as competitive hijinks takes a turn toward tribalism and anarchy as the whole edifice begins to rot from within.