SMAQ to design our BERLIN gallery
After more than seven months of trying to secure the perfect location, we can announce that TELIC is starting a project in the Brunnenstraße gallery district. We are very excited and lucky to have a Berlin-based architecture, landscape, and urbanism office, named SMAQ (see Cozy Chair, above), designing the space for us. More news to come!
April 26, 2008 at 6:00 pm
Erik Wesselo (1964 ’s-Hertogenbosch Netherlands) makes films that are marked by a clear beginning and end, but in between everything stays the same. Wesselo uses film, the medium of the moving image to bring time to a standstill. For the duration of the film he tries to capture the viewer with this one image. He uses the camera as a parallel to his psychological experience. The tragic moments in the films coalesce with their liberating potential.
The following is the program for Wesselo’s presentation:
Introduction.
Backward (1997 16 mm 5.00 min color sound) is an extremely physical film where the artist is riding on a galloping horse back to front exploring his relation with the environment.
In Luxembourg (1997 16 mm 3.35 min color sound) we see the smartly dressed artist as the bored caretaker of an empty, wealthy home where he walks from room to room. When he leans on the balcony a reverse zoom reveals the outside of the house, then the fact that it is surrounded by a gang of bikers. In a reference to Easy rider and it’s ideal, the freedom of the open road, the bikers come a cross here as a mental projection.
Wesselo’s Düffels Möll (1997 16 mm 5.00 min color mute) begins in medias res Wesselo is bound to the sail of a windmill rotating swiftly counterclockwise. By binding himself to the blade of the windmill, the artist is simultaneously empowered and powerless. Flying through the air at great heights he experiences the rush of being able to survey his surroundings from a new perspective.
Break.
Oil (2000 16 mm 30.00 min) records a performance event in which the artist and a co-worker are engaged in a monotonous and backbreaking task of loading a shipping container with boxes of oil. The film begins with an empty container and ends when the containers is full and the “actors” no longer have a performance space.
Break.
In Battery Park City (2006 two channel video projection 7.00 min color sound) Wesselo himself does not appear unlike the other films where he uses performances to explore structurally his relationship with the environment. In Battery Park City we see the camera exploring and investigating the landscape of lower Manhattan after the event of 9/11.
End.
This exhibition is made possible in part with support from the Mondriaan Foundation, Amsterdam, the Consulate General of the Netherlands in New York, The Andy Warhol Foundation for the Visual Arts, and basjanader.com.
The Public School opened at TELIC with an open house/ orientation and a Richtfest. There have been almost 80 classes proposed with more than 300 people signing up, which is partly due to an article in the LA Weekly, written by Holly Willis about the project last week.
Exhibitionism and Architecture
The New York Times ran an interesting article (”Yours for the Peeping” by Penelope Green) about a cultural shift from voyeurism to exhibitionism, a theme that was at the focus of the Showing exhibition with Jordan Crandall last month. The article connects social networking sites like MySpace and Facebook to the use of glass in contemporary urban architecture. Sherry Turkle makes a fantastic point about our anxiety over being alone, amidst all our technological connectedness, and how this compels us to open the window so that others will see us (with all the confirmation that provides). This question didn’t really come up during Jordan’s project, a substantive look at why we’re increasingly putting ourselves on display.
You can read the article below -
July 19, 2007 at 7:00 pm to 11:00 pm
A workshop and lecture by Chandler McWilliams and Casey Reas.
Form + Code is part lecture, part workshop, focusing on the relationship between code (computer programs) and visual form. The event is centered around six themes, Designing with Numbers, Repetition, Parameterization, Visualization, Transformation, and Simulation. Using these themes, we will discuss the history of procedural and algorithmic work using examples from architecture, visual design, and fine art. We will introduce the basics of computer programming with particular emphasis on creating software for screen, print, and 3D-fabrication. Each participant will have the opportunity to work with sample programs relevant to each of the six themes.
This evening is developed for people with little or no previous programming experience. All examples will be written in the Processing programming language.
We will provide chairs, and power outlets. You must provide a laptop computer capable of running Processing. Please download the software from www.processing.org/download before the event.
Email reas (at) reas (dot) com to register.
The event is limited to 30 people.
There is a required donation of $10.
September 10, 2005 at 6:00 pm to 9:00 pm
Alexis Rochas’ AEROMADS will form a temporary outdoor installation for the September’s exhibition opening reception at Telic. AEROMADS is an itinerant housing prototype to be installed in various locations throughout Los Angeles over 6 weeks, starting July 29 through to September 10. It will incorporate a range of programs and ideas, hosting children’s art workshops at Slanguage, Canoga Park Youth Arts Center and the Watts Tower Arts Center; fostering public interaction with the city during a 24-hour stop in a downtown parking lot; becoming a house within a house at the MAK Center for Art and Architecture at the Schindler House; tested for sustainability as a dwelling during stays in urban parks, campgrounds,and the desert, and for its ability to float in the ocean; and acting as a surrealist projection surface and bar for it’s closing party at Telic.
Robert Connelly - Why Things Don’t Fall Down
May 20, 2005 at 7:30 pm
Robert Connelly is a mathematician at Cornell University who specializes in understanding the mathematics of rigid bodies.
In this talk he will discuss the question of what makes buildings, bridges and spiderwebs hold up by exploring the properties of tensegrities. Hands-on activity will allow the audience to build their own tensegrity structures.
This lecture presented by the Institute for Figuring
September 17, 2004 at 6:00 pm