This holiday season, Amanda h. b. Jones invites you to join her in honoring the diverse spectrum of forces at work in our lives, through a kaleidoscopic interactive installation.  The square Co-Lab space will become a temporary temple to change and constancy, an all-inclusive space where the mundane and the profound are interchangeable on the altar.

Refreshed archetypes of personal importance will be erected in altar form, while mysterious prayers to abstractions cover the walls.  Community members are encouraged to use the installation as a place to reflect, during the crystallizing last days of the year, upon the agents of change at work in their lives, and the gifts bestowed by them. Amanda Jones will delve into an exploration of that which changes us, and how the motivation for this altered state of self is intangible. She addresses our need to glorify these experiences through ‘alteration alters’ and wall pieces, showing a physical accounting of an extraordinary manifestation which cannot be contained.

The number 12, a prominent factor in Jones’ current show, accounts for the number of works represented in the space. The wall pieces are arranged in a prism effect, with the artist providing a large scale kaleidoscope for viewers to use, further engaging the art and concept. The alters will be interactive, where the viewer may change, add to, or remove pieces during the exhibit’s run.

Collaborative Hours:
You are invited to be the “community” in Amanda Jones’s site-specific “community-art” installation, Turning Points.

Come to Co-Lab (perhaps bearing a random or special object) whenever you wish within these windows of time: [Wed 24: 2-6pm] - [Sat 27: 1-4pm] - and - [Sun 28: 12-5pm]

Come play music, manufacture things, sew or knit, brainstorm, fill out worksheets, hammer and nail, whatever floats your boat.

Dancing especially encouraged at opening event (Sun 28: 7-11pm).

We are approaching a Turning Point!

Body art is, “A direct reflection of the artist’s life experiences.”  –Rosemary Mayer, 1972

I examine the body within a medical context by exploring four main themes: pathological waste; containment of the body and its parts; fragmentation and violence against the body; a subject’s relationship to a specific environment.

Following my surgery in 2004 for cervical cancer, I began to perform in hospitals, morgues, medical museums and my doctors’ offices. The film works focus attention on the physical and emotional traces cancer and surgery can leave on the body while challenging the prescribed treatment for recovery and role of the patient.

Through self-performance, private rituals are revealed to the public only through documentation. Personal experiences are intertwined with unfamiliar environments thus creating a new environment for the viewer through their experience in the space. The same character’s presence in many of the works allows for an introspective look at these, in some cases unfamiliar worlds in comparison to one another.  

The repetition of spaces, procedures and a central character highlights and reshapes our thoughts on medical environments, the treatment of our bodies in these spaces, what role we have at protecting our bodies and the lengths we will go to achieve a sense of health. While the journey stems from a personal bout with cancer, I hope to resonate with each viewer as they participate in the space and reflect on the work.

Our state of technological distraction is continually interrupted by biological events, large and small. Will our dearest desire be fulfilled or will we return to distraction? TXT (or Burst) will present moving images, audio and a large installation working in conjunction to examine how current communications technologies affect our biological needs and tendencies.

A show about identity and how we create personalities and sometimes hide behind masks to feel comfortable.

Let j.haley and Paul Moncus deliver a stunning presentation designed to heal your ailing needs to invest without the fear of failure or the perceived necessity to understand.

Diagrams. Charts. And Suits.
You have nothing to lose.

Mainstream media, society, etc. exudes certain qualities that are unmistakable.  Usually straight, white, males.  When an outsider attempts to fit in, some aspects of their individuality are heightened while others are lost.  Some assimilate easier than others and the process of assimilation is different for everyone.

Excerpt from Chapter 1:

In the aftermath of their meeting, the Shaman and the Warrior had torn a path through what was once known as a sacred place. Their meeting had produced only one certainty, they were born of the same cosmic mother, and their journeys would be intertwined because of it.

———————————————————-

Prayermakers and Bonesetters will chronicle the meeting of these two mythic beings and be built on the ashes of the ceremony (fiesta) held in their honor. The installation will be a melding of cultural identity politics, magical realism, bright colors, Edward James Olmos, and disembodied spirits.

— RE: Work Mind Space —

What does it take for an idea to get a second chance?

1. This 15 minute performance presents a symbolic struggle with discarded ideas. Deena presents a journey of revitalization and reformation.

2. The installation reflects a theatrical set displaying Deena’s mind’s work space in the setting and space it’s being performed. Props are often representative of a larger process.

3. Deena (aka Nanobangbang) articulates the themes sonically with an accompanying soundtrack composition.

* The performance doesn’t intent to pretend that computer technology does not exist, but forgets, so as to illustrate the process journey with very tangible props.

* This piece is a performative expansion on the concept behind a portrait taken by BEN AQUA.

* Deena will invite questions and comments after the piece ends.

http://deenaodellehyatt.com

Stephen Bornstein, conceptual Artist and professional Industrial Designer, has created real 3-D images that actually occupy volumetric space and time. This is a “virtual” recreation of realty. This is not real. It is projected light, fleeting, temporal and illusionary.

This installation invites interactivity by encouraging the viewer to bring their own iPod. Before their eyes, they can watch their favorite music morph in 3-D.

"This is not an optical illusion or separate binocular images assembled in your mind’s eye. There it is – a pulsating kinetic form undulating to music or your voice. A miniature woman dancing to an old Lou Reed tune. A complex 3-D computer game that’s more like hunting wild ducks then clicking a mouse." -Bornstein

"I’ve been working on this for 45 years. Starting with 16mm underground films in the 60’s and then graduating to multiple 35mm projectors on dissolve units and computer created slides. Finally, using dynamic computer programs and video clips on hi-tech multi-media projectors. And of course, four decades of experimentation, culling, tweaking, and counter-intuitive breakthroughs from 3am discoveries." -Bornstein

This performance will attempt to provide participants with altered states of consciousness through the use of a stroboscopic film and composed sound, both at 10 Hz. The project is inspired by the Dreamachine, a device developed by Brion Gyson and Ian Sommerville in 1961, which utilized research on the relationship between alpha brain waves and consciousness.

Gyson, a contemporary of William Burroughs, described the Dreamachine as “the first art object to be viewed with the eyes closed.” Following this concept, Loren Dent will present 35 minutes of his composed music altered by filter to emit 10 Hz sounds that will work alongside the stroboscopic projection to facilitate alpha brain stimulation.

A word of caution: anyone with epilepsy or any nervous disorder should avoid participating. One out of 10,000 people experience a seizure during stroboscopic exposure.

Significantly aided by computational technology, contemporary society has become increasingly adept at replicating/duplicating products, environments, and exact outcomes of prior experience.

Is this drive to duplicate/replicate products, environments, and outcomes of prior experience (a major motivating force behind industrial manufacturing, chain restaurants/chain stores and science among other examples not considered) at odds with the unique individual and a less predictable reality, or are such ideas as the unique individual and a less predictable reality simply myths perpetuated by less organized and undisciplined members of humanity and that in truth, the drive to successfully duplicate/replicate products, environments, and exact outcomes of prior experience is, like biological reproduction itself, integral to humanity’s continuance? 

As a means of exploring the aforementioned questions, artist Sean Ripple will attempt to replicate a previously realized self-portrait in a real-time 25-minute period.  The source of verification for the real-time work’s fidelity to the previously realized portraits will be a video (simultaneously exhibited) of the artist painting the original portrait in the same location as the real-time performance.

A rhythmic score composed by Sean Ripple will accompany the 25-minute performance.

Because the artist will not be using computationally based automation (which can be thought of as a limited number of responses to a given scenario) to achieve his result, but instead will attempt to replicate the portrait viscerally, it is very likely that deviations from the source portrait will occur.

Do the unintended deviations from the source portrait prove the artist to be an inferior producer, or do they substantiate the notion that despite our best intentions to replicate/duplicate products, environments, and exact outcomes of prior experience as a means to control reality, a less predictable reality is at the wheel which automation only superficially denies?

A night of performances. Enough said…

Performances By:
Carlos Rosales-Silva
Bunnyphonic
Leona Scull-hons
Mark Hensel
James Beard
Sean Ripple
Amanda Joy

For a week, several artists will apply their time and talent to the four walls of Co-Lab, creating the space’s first collaborative wall painting. We invite you, the public, on Sunday, July 13th, to become a part of this collaboration by adding to, elaborating upon, or completely destroying what the artists have begun. There is no art background or training required, only an open mind and willingness to explore your untapped abilities. We will be providing some materials, but bringing your own (BYOM) is strongly encouraged. Come armed with anything from a pencil to a paint brush, we look forward to creating with you!

Artists: 
Loren Dent
Zach McDonald
Paul Moncus + Myra Moncus [Father-Daughter Collaborative Team]
Lacey Richter
Matthew Rodriguez
Anthony Romero
Sam Sanford
Sarah Stevens