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Postcommodity: The Point of Final Collapse On view November 15–ongoing The Tower at SFAI—Chestnut Street Campus Opening Reception: Friday, November 15 | 5–8pm The art collective Postcommodity presents The Point of Final Collapse, a sound installation and broadly conceptual work intended as a reprieve from the economic stresses and dangers of a city in the throes of radical social, cultural, architectural, and economic transformation. The collective focuses its indigenous lens on San Francisco’s sinking Millennium Tower as a metaphor for inequitable and irrational socio-economic systems that defy expectations of the land. Even more, the work highlights the cognitive dissonance of San Francisco’s technocracy in relationship to the city’s ongoing spiritual quest for restoration and self-care. The installation uses computational algorithms that parse data representing the movement of the Tower. This movement data is then mapped to healing ASMR audio and soothing binaural beats, transforming the sonification of the sinking and tilting of the Millennium Tower into therapeutic and sacred sounds. Long Range Acoustic Devices, installed in the tower at SFAI’s historic Chestnut Street Campus, will subtly broadcast this indeterminate and generative multichannel sound composition to North Beach and downtown San Francisco for short durational intervals each day, almost imperceptibly encouraging San Franciscans in search of comfort, security, and stability to relax. ABOUT THE ARTISTS Postcommodity is an indigenous art collective composed of SFAI Art + Technology Chair Cristóbal Martínez and Kade L. Twist. Postcommodity’s art functions as a shared indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting institutions, public perceptions, beliefs, and individual actions that comprise the ever-expanding, multinational, multiracial and multiethnic colonizing force that is defining the 21st Century through ever increasing velocities and complex forms of violence. Postcommodity works to forge new metaphors capable of rationalizing our shared experiences within this increasingly challenging contemporary environment; promote a constructive discourse that challenges the social, political and economic processes that are destabilizing communities and geographies; and connect indigenous narratives of cultural self-determination with the broader public sphere. The collective has been exhibited nationally and internationally, including: 18th Biennale of Sydney in Sydney, AUS; 2017 Whitney Biennial, New York, NY; documenta14, Athens, GR and Kassel, DE; and their historic land art installation at the U.S./Mexico border near Douglas, AZ and Agua Prieta, SON. ACKNOWLEDGEMENTS Postcommodity is the recipient of the 2019 Harker Award for Interdisciplinary Studies, that supports artists-in-residence at SFAI. The Harker Award was established through a generous bequest by artist and SFAI faculty member Ann Chamberlain and is administered by the San Francisco Foundation. Past residents include Alejandro Almanza Pereda, Katrin Sigurdardóttir, and Michael Jones McKean. SFAI’s Exhibitions and Public Programs are made possible by the generosity of donors and sponsors, including the Harker Fund of The San Francisco Foundation, Institute of Museums and Library Services, Grants for the Arts, National Endowment for the Arts, Creative Work Fund, Koret Foundation, Pirkle Jones Fund, Elizabeth Firestone Graham Foundation, and Fort Point Beer Company. Ongoing support is provided by the McBean Distinguished Lecture and Residency Fund, The Buck Fund, and the Visiting Artist Fund of the SFAI Endowment. Image: Postcommodity, With Each Incentive, 2019. Image courtesy of Postcommodity.
800 Chestnut Street (between Jones and Leavenworth) San Francisco CA
Category: Art Exhibits 3 id: 15206
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The Redwood City Improvement Association in partnership with Fung Collaboratives, has unveiled the latest Art Kiosk Installation exhibit by artists, Jose Castillo, Peter Moen and Tiffany Moen, titled “Bonds Unburnt.” Join us for the opening reception on Saturday, November 16 at 4 p.m. at Downtown Redwood City’s Courthouse Square Kiosk to welcome the project to the district. “Bonds Unburnt” embodies the connections created with other people relating to those of the tragic Californian fires of 2018. The installation is inspired by the Japanese “red string of fate” legend which states how people are connected through others who are destined to meet by the attachment of an invisible red string. Symbolizing the fires, orange strings were specifically used to represent the connections of those affected. The smell of charred wood will linger throughout the exhibition, allowing attendees to experience the atmosphere of the fires. The sculpture will encompass an hourglass shape, standing at 12 feet high with a 6-foot diameter. A basket will form at the middle of the hourglass, including the charred wood and personal items from the artists and donations from Redwood City residents. In partnership with Fung Collaboratives, the rotating Art Kiosk Installations will continue throughout 2019 with different featured artists in an effort to enhance the community’s fine art scene for residents and visitors. “Bonds Unburnt” will be on display until December 16, 2019.
2208 Broadway St. Redwood City CA
Category: Art Exhibits 3 id: 15298
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VISITING ARTISTS + SCHOLARS SERIES Miguel Calderón: On George Kuchar and Tropical Vultures Ten years ago, underground film legend George Kuchar and his former student, Miguel Calderón, took a working vacation to Acapulco. Their goal was to produce a strange and singular film, shot on location in a tourists’ paradise. Kuchar, just as compelling on screen as behind the camera, would play the leading man. The fruits of their labor, Tropical Vulture, combines Hollywood glamour with non-professional actors to reflect on heartbreak and lust on the sandy shores of Mexico. On the same trip, Kuchar made Burrito Bay, a video that follows the format of a diary and lends a completely different perspective to their journey. It provides a behind-the-scenes glimpse of the crew and of the boisterous workings of the artist's inner mind. A decade later, and eight years after Kuchar’s passing, this special 10th anniversary program brings Calderon back to SFAI to reflect on both films, on the harrowing tale of accidentally deleted video footage–weeks worth of filming wiped from a hard drive–and on the profound influence that Kuchar continues to have on his practice and life. The event includes a screening of Tropical Vultureand Burrito Bay, a never-before-seen interview shot by Calderón in which Kuchar reflects on the lost footage, and a presentation of an unreleased book on Kuchar, by Calderón and artist/curator Julio Morales. George Kuchar (1942–2011) was a key figure in experimental and independent filmmaking in the Bay Area and across the world. He gained prominence through his Super 8 and 16mm films produced throughout the 1950s, 60s and 70s. In the 1980s, after more than three decades working with film, Kuchar transitioned to video. He subsequently created hundreds of low-fi, diaristic videos that oscillated between real life and fiction. Many of these camcorder pieces featured Kuchar and his friends as actors. He also regularly collaborated with his students from the San Francisco Art Institute, where he taught for many decades. Throughout his prolific output of over 350 films, Kuchar pushed the limits of film and cinematic tradition, creating his own distinct visual language. Kuchar embedded his eccentric videos with his most intimate and profound self, using strange humor and joyous nonsense - featuring UFOs, weather, defecation and forbidden passions. Miguel Calderón (b. 1971, Mexico City) explores a broad range of themes, from violence and corruption in Mexico to youth and family dynamics to the supernatural. However, it is unified by an ever-present sense of theatricality, questioning the fine line between reality and fiction. Frequently cast from the perspective of an outsider, his work highlights the macabre complexity of man’s position in the universedeftly weaving together mockery, foolishness, social critique and sincerity of emotion. Calderón received his BFA from the San Francisco Art Institute in 1994. He has been the recipient of the Cisneros Fontanals Art Foundation Grant & Commissions program (2013), The MacArthur Fellowship for Film and New Media (2000), and the Bancomer/Rockefeller Fellowship (1995). Calderón has participated in various biennials, including: 7th Internationale Photo-Triennial, Esslingen, Germany (2007); Bussan Biennale, Bussan, Korea (2006); Sharja Biennial 7, Sharjah, United Arab Emirates (2005), Yokohama Triennale of Contemporary Art, Yokohama, Japan (2005). KADIST develops collaborations with artists, curators and many art organizations around the world, facilitating new connections across cultures. Local programs in KADIST’s hubs of San Francisco and Paris include exhibitions, public events, residencies and educational initiatives. Complemented by an active online network, they aim at creating vibrant conversations about contemporary art and ideas. Image: George Kuchar, Burrito Bay, 2009. (Video Still).
800 Chestnut Stree San Francisco CA
Category: Art Exhibits 3 id: 15237