Ulysses Jenkins screening • performance by beck haberstroh, Maria Antonia Eguiarte, mika Castañeda, and Victor Castañeda H
December 21, 2023, at MCASD
700 Prospect St., La Jolla, CA 920375:00 - 7:00 pm in Jacobs Hall
FREE for MCASD’s Third Thursday
In collaboration with MCASD, join us on Free Third Thursday, December 21 at 5PM for the screening of Ulysses Jenkins' Inconsequential Doggereal (1981) followed by a performance at 6PM of Fates, Boots and Bob: A Hijacked Hootenanny Holiday Hullabaloo by beck haberstroh, Maria Antonia Eguiarte, mika Castañeda, and Victor Castañeda H. This event was organized in response to the exhibition Eleanor Antin and My Barbarian at MCASD, with consultation from Alexandro Segade.
Inconsequential Doggereal
Ulysses Jenkins
(1981, 15:13 min, color, sound, video)
Initially created as an editing exercise for his students at UCSD, Jenkins’ Inconsequential Doggereal mixes poetic narrative fragments of self-shot footage with moments ripped from the unending flow of TV news, advertising, and entertainment. The images and sounds of mainstream television are jammed, freeze-framed, looped, overlaid and rewound—clips of science documentaries, movies broadcast on TV, nightly news commentary on the minimum wage, and a 60 Minutes style interview with the actor Peter Sellers are all jumbled together. Jenkins interjects several original threads, which show pickup football games gone wrong, a young white couple doing chores and hanging out at home, and Jenkins himself laying on a green suburban yard as a lawnmower moves perilously close to his body.
Commenting on the title, Jenkins noted: “One Sunday morning, I was reading the calendar section in the L.A. Times. The Superman film was just about to open, and they had an interview with Marlon Brando. They asked him, ‘What’s it like to play the Superman?’ He goes, ‘Well, I really like those doggerel moments.’ I said, ‘Doggerel moments? What is he talking about?’ So I looked up the word, and it means ‘irregular measure.’ So I figured he was talking about the timewhen maybe they’re not using dialogue, or the in-between time when they’re moving within the narrative and there’s nothing being said, or maybe there are gestures you can’t understand. And I thought, ‘That’s what it’s like to be a black person in society. Sometimes things are irregular, and you can’t figure out what’s happening.’”
Courtesy Electronic Arts Intermix (EAI), New York.
Ulysses Jenkins
(1981, 15:13 min, color, sound, video)
Initially created as an editing exercise for his students at UCSD, Jenkins’ Inconsequential Doggereal mixes poetic narrative fragments of self-shot footage with moments ripped from the unending flow of TV news, advertising, and entertainment. The images and sounds of mainstream television are jammed, freeze-framed, looped, overlaid and rewound—clips of science documentaries, movies broadcast on TV, nightly news commentary on the minimum wage, and a 60 Minutes style interview with the actor Peter Sellers are all jumbled together. Jenkins interjects several original threads, which show pickup football games gone wrong, a young white couple doing chores and hanging out at home, and Jenkins himself laying on a green suburban yard as a lawnmower moves perilously close to his body.
Commenting on the title, Jenkins noted: “One Sunday morning, I was reading the calendar section in the L.A. Times. The Superman film was just about to open, and they had an interview with Marlon Brando. They asked him, ‘What’s it like to play the Superman?’ He goes, ‘Well, I really like those doggerel moments.’ I said, ‘Doggerel moments? What is he talking about?’ So I looked up the word, and it means ‘irregular measure.’ So I figured he was talking about the timewhen maybe they’re not using dialogue, or the in-between time when they’re moving within the narrative and there’s nothing being said, or maybe there are gestures you can’t understand. And I thought, ‘That’s what it’s like to be a black person in society. Sometimes things are irregular, and you can’t figure out what’s happening.’”
Courtesy Electronic Arts Intermix (EAI), New York.
Fates, Boots and Bob: A Hijacked Hootenanny Holiday Hullabaloo
Bob Cratchit is on his way to work when a spaceship crash lands in his path. In this extraterrestrial twist on a holiday classic, an alien, a museum educator, and an enormous piece of sacred toast help Bob navigate his existential workplace woes.
Drawing on references from absurdist theater, politically-engaged performance, pop culture and queer nightlife, this tragicomedy pilfers the practices of Eleanor Antin and My Barbarian to stage raucous homage, mischievous theft and fantastic departure. Through a series of sing-alongs, the audience will help Bob decide whether to give in, organize, or burn it all down.
Victor, mika, Antonia and beck met while attending art school in San Diego. They bring together their interdisciplinary practices to stage participatory performances that celebrate a playful politics of absurdity. In 2023, they produced SUCK OFF!, a 'musical' in the tradition of queer camp theater that follows Dracula through their relationships with an Angel, an Asshole and an Astronaut as they pursue their dream of going to space.
beck haberstroh is an interdisciplinary artist, writer, and facilitator. They work in community to stage performances, photographs and gatherings that center play and subvert power. In 2022, haberstroh presented a public artwork in the City of San Diego’s Park Social Initiative with collaborator Katie Giritlian and co-authored the book Camera of Possibilities: A Workbook for a Carrier Bag Theory of Photography (Brooklyn, NY: Paper Cameras Press) with Mira Dayal. They have participated in residencies and fellowships at SOMA, Mexico City (2022); BRIC, Brooklyn, NY (2019); and Outpost Artist Resources, Queens, NY (2018). Their work has been shown in group exhibitions at venues, including the Institute of Contemporary Art San Diego, San Diego; Small Editions, Brooklyn; Gymnasium, Brooklyn; Babycastles, New York; Knockdown Center, Brooklyn; Flux Factory, Queens; California State University Long Beach, Long Beach; and the Wassaic Project, Wassaic, NY. Their writing has been published by HereIn, Syllabus Project, imaginedTheatres and SCREEN_. haberstroh holds a B.A. from Brown University and an M.F.A. from the University of California, San Diego.
Maria Antonia Eguiarte is an interdisciplinary artist engaging in gesture-based performance and object making. Since the start of her artistic exploration, Antonia has been drawn to vulnerability and care as radical political weapons for quiet gestural revolution. This has been the main focus of her practice as a facilitator and artist. Her gesture-based performance and object-making center on the possibilities of a transnational body that carries multigenerational knowledge of care. Maria Antonia has shown in group expeditions on both sides of the border at ICA San Diego, NIXON, Proxyco NYC, the New Wight Gallery UCLA and Museo Ex Teresa Arte Actual. Maria Antonia holds a BFA from La Escuela Nacional de Pintura Escultura y Grabado “La Esmeralda” and a MFA from The University of California San Diego.
mika Castañeda b. 1996, Woodland Hills California, is an interdisciplinary maker, educator, collaborator and libra from Los Angeles California. Placing itself between object and archive, their practice looks towards over sentimentalized concepts surrounding the stage, collecting, and assembly in order to enact narratives of queer hope, holding, and remembering.It concerns itself and themself with one’s proximity to others, and asks simply “how/when do I feel held, how/when can I hold?”. “Who gets to remember, and how do we?”. With these questions as their first point of departure their work fishes out an understanding of these questions through formal studies as sites for mutual witness, heldness, and proximity. Ultimately what is formed is a practice which holds tightly to notions of the then/there of queerness, embracing new formations of ‘place’ and ‘archive’. A practice which, by definition, lends itself to what a space must give in order to become place: community, affirmation of the sacredness of people, and human capacity for transcendence.
Victor Castaneda H is an interdisciplinary artist that works with VR, sound, coding, video, sculpture, and drawings. Through humor he is interested in fantasy and storytelling, as a way to reflect on the fallacies of memories. While using it as a platform to contemplate the potentiality of marginalized queer futures. As well, the idea of the non-body, a formless entity that can exist as an energy source found throughout living organisms. Borrowing from cyberpunk, the non-body can experience the world fully. Asking, what is a body and the future of it? Both of these themes intertwine with each other to create installations utilizing a new media approach with traditional art methods. Victor has shown at the ICA San Diego, Coaxial, Oolong Gallery, and Other Places Art Fair. He is the founder of the Newstand Project, in which he curated art shows in abandoned newspaper vending machines. He has a bachelors from Cal State University of Northridge and a MFA from University of California San Diego.
Maria Antonia Eguiarte is an interdisciplinary artist engaging in gesture-based performance and object making. Since the start of her artistic exploration, Antonia has been drawn to vulnerability and care as radical political weapons for quiet gestural revolution. This has been the main focus of her practice as a facilitator and artist. Her gesture-based performance and object-making center on the possibilities of a transnational body that carries multigenerational knowledge of care. Maria Antonia has shown in group expeditions on both sides of the border at ICA San Diego, NIXON, Proxyco NYC, the New Wight Gallery UCLA and Museo Ex Teresa Arte Actual. Maria Antonia holds a BFA from La Escuela Nacional de Pintura Escultura y Grabado “La Esmeralda” and a MFA from The University of California San Diego.
mika Castañeda b. 1996, Woodland Hills California, is an interdisciplinary maker, educator, collaborator and libra from Los Angeles California. Placing itself between object and archive, their practice looks towards over sentimentalized concepts surrounding the stage, collecting, and assembly in order to enact narratives of queer hope, holding, and remembering.It concerns itself and themself with one’s proximity to others, and asks simply “how/when do I feel held, how/when can I hold?”. “Who gets to remember, and how do we?”. With these questions as their first point of departure their work fishes out an understanding of these questions through formal studies as sites for mutual witness, heldness, and proximity. Ultimately what is formed is a practice which holds tightly to notions of the then/there of queerness, embracing new formations of ‘place’ and ‘archive’. A practice which, by definition, lends itself to what a space must give in order to become place: community, affirmation of the sacredness of people, and human capacity for transcendence.
Victor Castaneda H is an interdisciplinary artist that works with VR, sound, coding, video, sculpture, and drawings. Through humor he is interested in fantasy and storytelling, as a way to reflect on the fallacies of memories. While using it as a platform to contemplate the potentiality of marginalized queer futures. As well, the idea of the non-body, a formless entity that can exist as an energy source found throughout living organisms. Borrowing from cyberpunk, the non-body can experience the world fully. Asking, what is a body and the future of it? Both of these themes intertwine with each other to create installations utilizing a new media approach with traditional art methods. Victor has shown at the ICA San Diego, Coaxial, Oolong Gallery, and Other Places Art Fair. He is the founder of the Newstand Project, in which he curated art shows in abandoned newspaper vending machines. He has a bachelors from Cal State University of Northridge and a MFA from University of California San Diego.
Guillermo Gómez-Peña screening • Rancho Shampoo performance
July 20, 2023, at MCASD
700 Prospect St., La Jolla, CA 920375:00 - 7:00 pm in Jacobs Hall
FREE for MCASD’s Third Thursday
Our ongoing partnership with MCASD responds to works on display, presenting rare artist videos and live performances. July’s collaboration responds to Celia Àlvarez Muñoz, featuring video work by Guillermo Gómez-Peña, Adriene Jenik, Roberto Sifuentes (El Naftazteca: Cyber-Aztec TV for 2000 A.D.) and a performance by Rancho Shampoo.
El Naftazteca: Cyber-Aztec TV for 2000 A.D.
Guillermo Gómez-Peña, Adriene Jenik, Roberto Sifuentes
(1995, 58 min, color, sound, video)
Interrupting the nightly news in an act of guerrilla television, Gómez-Peña returns to the persona of a Chicano-Aztec veejay—"The Mexican who talks back, the illegal Mexican performance artist with state of the art technology"—to elaborate the complications of American identity. This post-NAFTA Cyber Aztec pirate commandeers the television signal from his underground "Vato bunker", where virtual reality meets Aztec ritual. Gómez-Peña embodies the doubly radical Chicano performance artist, delivering radical ideas through a radical form of entertainment.
Guillermo Gómez-Peña, Adriene Jenik, Roberto Sifuentes
(1995, 58 min, color, sound, video)
Interrupting the nightly news in an act of guerrilla television, Gómez-Peña returns to the persona of a Chicano-Aztec veejay—"The Mexican who talks back, the illegal Mexican performance artist with state of the art technology"—to elaborate the complications of American identity. This post-NAFTA Cyber Aztec pirate commandeers the television signal from his underground "Vato bunker", where virtual reality meets Aztec ritual. Gómez-Peña embodies the doubly radical Chicano performance artist, delivering radical ideas through a radical form of entertainment.
Rancho Shampoo & the Indian Dub Orchestra
Guillermo Estrada (Rancho Shampoo) holds a BA in History and an MFA from UCSD in Visual Art. Within the visual arts, his work is developed between the performative, music, and film. He is co-founder of the festival "Doña Pancha Fest" and Director of the audiovisual project "La Catedral del Underground.”
Rancho Shampoo and the Indian Dub Orchestra (Guillermo Estrada, Rubén Alonso Tamayo, Rodo Ibarra, Julián González, David Bautista Toledo) is a group of “Aliendígenas” from the border regions of California and Mexico. This experimental musical performance explores identities through the concept of aliendigenismo, or the shifting/transcendance of a person or group through real and spiritual borders, territories, physical bodies, and realities. Rancho Shampoo was recently included in the 2023 MexiCali Biennial, "Land of Milk & Honey" at The Cheech Marin Center for Chicano Art, Culture & Industry.
Guillermo Estrada (Rancho Shampoo) holds a BA in History and an MFA from UCSD in Visual Art. Within the visual arts, his work is developed between the performative, music, and film. He is co-founder of the festival "Doña Pancha Fest" and Director of the audiovisual project "La Catedral del Underground.”
Rancho Shampoo and the Indian Dub Orchestra (Guillermo Estrada, Rubén Alonso Tamayo, Rodo Ibarra, Julián González, David Bautista Toledo) is a group of “Aliendígenas” from the border regions of California and Mexico. This experimental musical performance explores identities through the concept of aliendigenismo, or the shifting/transcendance of a person or group through real and spiritual borders, territories, physical bodies, and realities. Rancho Shampoo was recently included in the 2023 MexiCali Biennial, "Land of Milk & Honey" at The Cheech Marin Center for Chicano Art, Culture & Industry.
Armando de la Torre • Cecilia Vicuña
April 20, 2023, at MCASD
700 Prospect St., La Jolla, CA 920375:00 - 7:00 pm in Jacobs Hall
FREE for MCASD’s Third Thursday
Our ongoing partnership with MCASD responds to works on display, presenting rare artist videos and live performances. April's collaboration will respond to Griselda Rosas:Yo te cuido, featuring local artist Armando De La Torre (La Inocente) and renowned poet Cecilia Vicuña (Paracas).
La Inocente
Armando de la Torre
La Inocente features projections, musicians, and other performers interacting with an movable set resembling a house in the Sherman Heights neighborhood of San Diego, where de la Torre’s mother lived. With Earth Day approching, the performative installation connects ideas of mother & child to our relationship with nature and home, highlighting the immediacy of caring for another and caring for mother nature.
La Inocente is a site-specific work commissioned for Space Time and MCASD.
Armando de la Torre
La Inocente features projections, musicians, and other performers interacting with an movable set resembling a house in the Sherman Heights neighborhood of San Diego, where de la Torre’s mother lived. With Earth Day approching, the performative installation connects ideas of mother & child to our relationship with nature and home, highlighting the immediacy of caring for another and caring for mother nature.
La Inocente is a site-specific work commissioned for Space Time and MCASD.
Paracas
Cecilia Vicuña
(1983, 18:31 min, color, sound, 16 mm film on video)
Conceived as a visual and sound poem in seven scenes, this animation of a two- thousand-year-old textile in the collection of the Brooklyn Museum invites entrance into a different visual and sonic space: the universe of the pre-Columbian weavers who created the portrait of a ritual procession using a unique three-dimensional looping technique developed in the Paracas/Nazca region. Vicuña interprets the textile as a celebration of the harvest and the Thread of Life on the desert coast of Peru.
Courtesy Electronic Arts Intermix (EAI), New York, NY.
Cecilia Vicuña
(1983, 18:31 min, color, sound, 16 mm film on video)
Conceived as a visual and sound poem in seven scenes, this animation of a two- thousand-year-old textile in the collection of the Brooklyn Museum invites entrance into a different visual and sonic space: the universe of the pre-Columbian weavers who created the portrait of a ritual procession using a unique three-dimensional looping technique developed in the Paracas/Nazca region. Vicuña interprets the textile as a celebration of the harvest and the Thread of Life on the desert coast of Peru.
Courtesy Electronic Arts Intermix (EAI), New York, NY.
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PROJECT[BLANK]’s Salty Series
PROJECT[BLANK]February 11, 2023, at Bread & Salt
1955 Julian Ave., San Diego, CA 92113
8:00 pm, $10 suggested
SPACE TIME is pleased to present a program of “illuminated music,*” featuring various methods of real-time image and sound manipulation. The program will begin with a screening of Studies by video art pioneers Steina and Woody Vasulka. “The Vasulkas' investigations into analog and digital processes and their development of electronic imaging tools, which began in the early 1970s, place them among the primary architects of an expressive electronic vocabulary of image-making.” In 1971, The Vasulkas founded The Kitchen in NYC, which has served as a model for multidisciplinary arts organizations, including Space Time and Project [BLANK].
*The term “illuminated music” is taken from another video synthesis pioneer, Stephen Beck.
STEINA and WOODY VASULKA are major figures in video history, technical pioneers who have contributed enormously to the evolution of the medium. The Vasulkas' technological investigations into analog and digital processes and their development of electronic imaging tools, which began in the early 1970s, place them among the primary architects of an expressive electronic vocabulary of image-making. Applying an informal, real-time spontaneity to their formalist, often didactic technical research, they chart the evolving formulation of a grammar and syntax of electronic imaging as they articulate a processual dialogue between artist and technology.
The Vasulkas immigrated to the United States in 1965, and began their collaborative exploration of electronic media in 1969. In 1971, they co-founded The Kitchen, a major alternative exhibition and media arts center in New York.
Courtesy Electronic Arts Intermix (EAI), New York, NY.
The Vasulkas immigrated to the United States in 1965, and began their collaborative exploration of electronic media in 1969. In 1971, they co-founded The Kitchen, a major alternative exhibition and media arts center in New York.
Courtesy Electronic Arts Intermix (EAI), New York, NY.
For this event, they’ll perform a live audio visual piece, using digital film, machine generated imagery and animation, with improvised sound loops and found samples.
He will be playing live electronics and audio-modulated processing of a series of still images.
Jacolby Satterwhite’s Country Ball 1989-2012 • Super Squirrel performance
January 19, 2023, at MCASD’s Jacobs Hall
700 Prospect St., La Jolla, CA 92037
5:00 - 7:00 pm, with performances at 5:30 & 6:30
FREE for MCASD’s Third Thursday
Space Time is very excited to begin a partnership with MCASD to produce a series of events that consider works on display while presenting rare artist videos and live performances. The first includes works that incorporate found material to critique pop culture and imagine better worlds, in conjunction with the exhibition Alexis Smith: The American Way.
Country Ball 1989-2012
Jacolby Satterwhite
(2012, 12:38 min, color, sound, HD video on loop)
In Country Ball, Satterwhite fuses drawing, live performance and digital technology to translate and document personal mythology. Here the artist's sources are a home video of a family cookout and his mother's drawings. Hand-tracing the drawings and importing them into a 3D animation program, Satterwhite builds a lush, computer-generated landscape. Performing in front of the camera and "green screen" 100 times, he inserts his dance performances into the virtual space to create what he terms "a Hieronymous Bosch 'Garden of Earthly Delights' inspired landscape."
Courtesy Electronic Arts Intermix (EAI), New York, NY.
Jacolby Satterwhite
(2012, 12:38 min, color, sound, HD video on loop)
In Country Ball, Satterwhite fuses drawing, live performance and digital technology to translate and document personal mythology. Here the artist's sources are a home video of a family cookout and his mother's drawings. Hand-tracing the drawings and importing them into a 3D animation program, Satterwhite builds a lush, computer-generated landscape. Performing in front of the camera and "green screen" 100 times, he inserts his dance performances into the virtual space to create what he terms "a Hieronymous Bosch 'Garden of Earthly Delights' inspired landscape."
Courtesy Electronic Arts Intermix (EAI), New York, NY.
Super Squirrel
Performances at 5:30 & 6:30 pm
Super Squirrel (Sarah Hankins) is a DJ, producer, ethnomusicologist, and electronic noisemaker. Working with samples, VSTs, and analog synths, she explores themes of psychopathology, the carnivalesque, horror, oddity, intimacy, and haunting. Super Squirrel is compelled by the duality of sound as both material force and sociocultural text; she enjoys playing at the intersections and disjunctures of these two dimensions. In live performance, she creates quasi-narratives by way of irrational pop/electronic/folk mashups, which are smeared with noise and paired with curious videos.
Performances at 5:30 & 6:30 pm
Super Squirrel (Sarah Hankins) is a DJ, producer, ethnomusicologist, and electronic noisemaker. Working with samples, VSTs, and analog synths, she explores themes of psychopathology, the carnivalesque, horror, oddity, intimacy, and haunting. Super Squirrel is compelled by the duality of sound as both material force and sociocultural text; she enjoys playing at the intersections and disjunctures of these two dimensions. In live performance, she creates quasi-narratives by way of irrational pop/electronic/folk mashups, which are smeared with noise and paired with curious videos.
