Winter 2014

Winter 2014

REDCAT, Roy and Edna Disney CalArts Theater

Anna Craycroft and Marc Vives, Template-Party Overlay, 2014.

December 8, 2014

Winter 2014


631 West 2nd Street 
Los Angeles, CA
Hours: Tuesdays–Sundays noon–6pm

Anna Craycroft and Marc Vives
The End of Summer: The Wilson Exercises
December 13–February 8

Opening reception: December 13, 6–9pm 

REDCAT presents The End of Summer: The Wilson Exercises, a duo exhibition with newly created work by Anna Craycroft and Marc Vives, guest-curated by the curatorial office Rivet (Sarah Demeuse and Manuela Moscoso). Developed during an ongoing, multi-year research project called The Wilson Exercises, the exhibition marks the first presentation of the artists in Los Angeles. The project suspends the pressure of finite outcome and deals with shared method and productive process, without clear distinctions between doing, making and showing.

In the gallery, Marc Vives creates a cave-like fabric installation that contains a visual and aural environment inspired by the non-rational visual language of popular street festivals in Spain. This semi-secretive space is framed by Anna Craycroft’s large black and white oversize posters, hung in a dense grid to create transformations of basic geometric forms. They are created by the stripping down and subsequent adding of coloring and folds that produce timbre. The exhibition pivots around dynamics of togetherness and withdrawal, obscurity and immediate visibility. It uses a visual vocabulary of learning but turns that into an atmospheric element, highlighting experiential learning over measurable cognitive acquisition.

The End of Summer is the first iteration of this research in exhibition format. The exhibition in Los Angeles was preceded by a residency at the Rogaland Kunstsenter (Stavanger, Norway) in summer 2014. The project will have a third public appearance, as an exhibition, at Espai 13 of the Fundació Miró (Barcelona, Spain) in March 2015. The Wilson Exercises may remain open-ended.

The End of Summer coincides with the publication of Manual: The Wilson Exercises with words by Trinie Dalton, Diedrich Diederichsen, Ruth Estévez, Geir Haraldseth and Rivet, and images by Anna Craycroft and Marc Vives. It is designed by Project Projects, NYC.

Reading: Fourth Session of Administrative Poetry
February 10, 7:30pm

The session of Administrative Poetry is a conceptual poetry event organized by Vicente Razo. In this reading, with a mixture of enthusiasm and melancholy, the worn and weary legacy of the art of administration (an euphemism for conceptual art) is invoked. This project delves into issues such as the dispensation of bylaws, incorporation, clerical correspondence, the call for applications or tax exceptions as the pillars and props of artistic practice in the 21st century.


Assembly (REDCAT)
February 28–April 5, 2015

The modern concept of intellectual property relies fundamentally upon the assumption of a division between the ontological categories of “nature” and “culture.” However, for many art practices such a split is difficult to make. Agency, a Brussels-based initiative that was founded in 1992 by Kobe Matthys, constitutes a growing list of “things” that resists the split between these two classifications. These “things” are mainly derived from controversies and jurisprudence around intellectual property.

For Assembly (REDCAT), Agency will bring a selection of “things” from its list, based on the speculative question “How can temporalities become included within art practices?.” This question addresses the interference of the requirement of “fixation” in copyright law with the ecosystem of art practices. Because of the difficulty of fixation, the scope of interpretations can encompass an infinite set of potential variations.

The exhibition will include a selection of approximately 30 controversies around the temporariness of singular cases within cinema, fine arts, gaming, gardening, make-up, music, performance, reality television, speech, sports, theater, among others. During a series of five events some of those controversies will convene an assembly at REDCAT. March 4, Thing 001620 (Joseph Beuys, Das Schweigen von Marcel Duchamp wird überbewertet, 1964); March 11, thing 000856 (Baseball games), March 18, thing 001259 (En Attendant Godot); March 25, 2015, thing 002121 (Satin Doll) and April 1, thing 001211 (Count Dracula).

The Gallery at REDCAT focuses on experimentation through new commissions that often represents the artist’s first major presentation in the US or Los Angeles. The exhibition program ventures to cross-pollinate shared concepts and critical discourses that connect art to other fields in service of an interdisciplinary program. Using different scales and temporary structures, the exhibition formats are flexible and constantly reformulated. 

Gallery at REDCAT is open Tuesdays through Sundays from noon to 6pm or until intermission. It is closed Mondays and major holidays. Admission to the Gallery at REDCAT is always free.

REDCAT is located at the corner of W. 2nd and Hope Streets, inside the Walt Disney Concert Hall complex in downtown Los Angeles (631 West 2nd Street, Los Angeles).


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REDCAT, Roy and Edna Disney CalArts Theater
December 8, 2014

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