LAMOA is a platform for an organic institution that lives through participation. LAMOA is currently located on the Campus of Occidental College in Eagle Rock, Los Angeles. 1600 Campus Road Los Angeles, California 90041 Open hours: Monday through Saturday 9am-5pm
Opening: Saturday 11/12, 4-6 PM at LAMOA at Occidental College
BBQ around the burning roof truss: Thursday 11/10, 6-11PM
In his sculptural and photographic work, Andreas Fogarasi investigates how things are presented to us, how architecture is conceived as an image, how images are conceived as spectacle. His installation at LAMOA evokes and reinterprets some of these gestures of presentation.
An aluminum truss, the modular construction system commonly used for short-term event architecture, is modified to produce the most basic and archaic spectacle - an open fire (or rather the domesticated version of it, a neat row of gas flames).
Next to it, a brochure holder, suspended with grand gesture in mid-air, presents a small and inexpensively printed publication, entitled FREE BOOK YEAR. Free to take away, it contains 24 photographs from various exotic and mundane places around the world. Buildings by star architects such as Gustave Eiffel, Vladimir Shukhov, Peter Eisenman or Norman Foster, are pictured alongside anonymous temporary constructions, always with a focus on how their various urban situations and surroundings interfere with the aesthetic vision of the architecture.Situated somewhere between snapshots and the highly codified art of architectural photography, Fogarasi offers an exhibition to be taken away as a gift.
The publication's mirror cover would reflect the flames of the burning truss(entitled The La Brea Tar Pits on Fire), if it wasn't impossible to light it, both for college regulations as for the simple fact that LAMOA, itself an ironic sculptural model of museum architecture, is built from wood. A photograph mounted on the back wall shows the truss in action - used as a BBQ grill a few days prior to installing it on site. Connected to an empty propane gas bottle, it sits as a dysfunctional promise of excitement. (Yes, there is some Ruscha reference, but also Yves Klein!)
Andreas Fogarasi (*1977, Vienna) is through his installations, sculptures, videos and photographs concerned with the act of showing and of representation. He analyses how places, cities, political ideas, or historic events become images and questions the role of culture – art, architecture, and design – in this process. Underlying his works is his critical examination of the mechanisms with which political appropriation operates in the field of visual culture today: the process of culturalisation of the economy – be it through „creative“ models of working and remuneration, through culture being the motor behind urban reconstruction, or as a factor in the competition for attracting tourists, investors, and media attention.
Formally informed by Minimal Art and Conceptual Art, Fogarasi’s works are at the same time documentary and autonomous sculptures. The documentary element is consciously fractured and rests on a precise balance between information and openness. The sculptural aspect is strongly architectural, often referencing iconic landmarks, commercial presentations or temporary forms of architecture such as stands at fairs, stage constructions, or pavilions.
Andreas Fogarasi was awarded in 2007 with the Golden Lion at the 52nd Venice Biennial for his exhibition in the Hungarian Pavilion. He participated in numerous international exhibitions at institutions such as the MAK Center, Los Angeles; Museo Tamayo, Mexico City; The New Museum, New York and had solo shows amongst others at the Museo Reina Sofia, Madrid; Galerie für zeitgenössische Kunst, Leipzig; Museum Haus Konstruktiv, Zürich; Galeria Vermelho, Sao Paulo; Prefix Institute of Contemporary Art, Toronto; Ludwig Museum, Aachen; Lombard Freid Projects, New York; Ernst Museum, Budapest; Grazer Kunstverein, Graz; and concurrently with his show at LAMOA, at Proyectos Monclova, Mexico City.
Our growth and consumption-driven economy produces an enormous amount of stuff that becomes obsolete in a very short amount of time and then is thrown out, making room for ever the new. Often these rejects can be found discarded on the sidewalks near peoples' homes in the neighborhoods of Los Angeles. Gabrielle Jennings photographed these abandoned things and has silhouetted them with various shades of green, referencing the video practice of chroma-keying. This is the process of isolating a single color in an electronic image and using software to make that area transparent, allowing another image to show through the affected areas. Accentuating the idea of absence and presence, Jennings uses the sliding doors of LAMOA to display before and after images of each discarded object printed as a series of 12 posters. Literature related to the subject matter of the exhibition – the discarded detritus of contemporary life, our culture’s obsession with stuff, and the self-help, organizational trends that promise to transform our lives – are strewn across the floor of the space and available for the taking. Marie Kondo’s wildly bestselling The Life-Changing Magic of Tidying Up is among them. Additionally, triangular shade sails painted in various shades of DIY green screen paint and attached to the building structure intersect the space and re-present the silhouetted shapes as places of psychic projection.
Please join us for Start by Discarding, an installation by Gabrielle Jennings on display at LAMOA October 15 - November 6th.
posters will be available to the public.
Please Join us for Start
an installation by Gabrielle Jennings on display at LAMOA October 15
- November 6th.
is free and open to the public Monday - Saturday, 10AM to 5PM.
Jennings is a multi-media artist and Associate Professor teaching in
the graduate Art program at the Art Center College of Design in
Pasadena. Jennings has shown nationally and internationally with her
most recent exhibition being at MiM Gallery in Los Angeles. Jennings
has been artist in residence at Kunstlerhaus Bethanien, Berlin and
200 Gertrude Street Artist Spaces, Melbourne and has been honored
with support from such organizations as the Art Matters Fellowship,
Philip Morris Kunstforderung, and the Samsung Faculty Enrichment
Grant. Among others, writers Harold Fricke, Jeremy Gilbert-Rolfe, Cay
Sophie Rabinowitz, and Jan Tumlir have written about her work.
In qualunque lingua, un del parolas le plus belle certo es Gurgulear. Fontane Gargarisar, Fontane
Stuffa-Boca, Fontane Guttear, et Fontane Rost-Grasse es proxima, ma Fontane Gurgulear es le plus
physicamente e opulente.
Del abundantia del corde le bucca parla.
E in le cavo de nostre corpore, sonos nascer.
Nostre buci gutta, le valvula gutta.
E le estate es le tempore quando aqua sonos
le plus belle.
Si il vos place, reveni.
Retorna a Fontane Gurgulear! *
You are cordially invited to Fontane Gurgulear, an installation by Kim Schoen, opening at LAMOA August 14th
from 3—6 p.m. Schoen works with the rhetorics of display across various mediums. Her interest in fountains dates back to a residency at Fabrikken in Copenhagen, where she experienced Tivoli Gardens in the dead of winter. The video she made there, The Second Oldest Amusement, was shown alongside another video, Have You Never Let Someone Else Be Strong (shot un-permitted at the Bellagio Fountains in Las Vegas) at her 2015-2016 solo show at MMoCA. Wet Technologyy, a suite of performative photographs made in 2015, features ornamental fountain nozzles put to new use. Fontane Gurgulear (The Drooling Fountain) now continues her line of inquiry into the pathetic aspects of the often spectacular or propagandistic uses of fountains as emblems of power, prestige and accretions of wealth. Schoen’s work re-inserts the idea of the human body back into the mechanics of display that we are routinely confronted with.
The brochure’s text that advertises Fontane Gurgulear (featured above) is written in Occidental Language. Occidental is an invented language, devised in the 1920s by Edgar de Wahl based on various Western (Occidental) languages. In addition to the brochure, a series of posters advertising the fountain are located around the Occidental College Campus, featuring empty fountains and their exposed piping, reflected in the installation at LAMOA.
Kim Schoen holds an MFA from CalArts (2005) and a Masters in Philosophy from the Royal College of Art in London (2008). Recent exhibitions of her work include Komma, (Kunstverein Springhornhof, Germany) Have You Never Let Someone Else Be Strong, (MMoCA), duh? Art & Stupidity (Focal Point Gallery, UK), Imitation Game (Maraya Art Centre, Sharjah, UAE), Remembering Forward: (LAXART, L.A.), Objective Considerations of Contemporary Phenomena (MOTInternational Projects, London), and Stupidious (South London Gallery, London). Schoen’s work has been written about in the Los Angeles Times, Art in America, and her essays on repetition and photography (“The Serial Attitude Redux”, “The Expansion of the Instant”) have been published in X-TRA Quarterly for Contemporary Art. Kim is also the co-founder and editor of MATERIAL Press.
* (Translation from Occidental Language to English Language)
The Drooling Fountain—you’ve got to come to see this!
One of the most beautiful words in any language would be drooling.
The Gargling Fountain, The Gagging Fountain, The Dribbling Fountain, and The Dripping Fountain come close, but The Drooling Fountain is the most physical and opulent. Out of the overflow of the heart the mouth speaks. In the recesses of our body, sounds spring forth.
Our mouths are running; the taps are running.
Summer is the season when water sounds most beautiful.
So please, return. Return to The Drooling Fountain!
Scott Marvel Cassidy's project at LAMOA deals with gentrification, both as a phenomenon in local areas of Los Angeles such as as the Eagle Rock/Highland Park area and as a development that includes and affects the art world on multiple levels. His observations are displayed in a structure of thin plywood housing three dioramas. Cassidy's paintings, drawings and sculptures represent reality in a dreamlike state. His work focuses on the intersecting themes of memory, the immediate physical environment and the quandaries of referring to paintings as purely representational.
From Campus Road at Occidental College walk up to the fountain, turn right at the chapel, and walk downstairs by the library.
Photos by Rachel Bank, John Pearson and Jack Baker