5 Free Art Shows You Should See in L.A. this Week
Lee Lozano's No title (1964)
Courtesy David Kordansky Gallery and Hauser & Wirth
This week, a downtown gallery hosts an exhibition potluck, a painter shows up her more controlling peers and two artists introduce their own personalized time pieces.
5. What time is it?
Over the past year, artists Taeyoon Choi and E Roon Kang have been “in search of personalized time.” The artists, who have been working in LACMA’s Art & Technology Lab, found it unsettling that we all rely on standardized time-telling systems, such as Greenwich Mean Time. What if they could fight what they refer to in their project statement as “global synchronization” and develop time-telling systems more in line with how the passing of time feels on a personal level? This weekend, they’ll lead a final workshop for people who want to test the personalized, portable timekeeping devices they’ve developed. Everyone who attends must “collectively agree to all live by different times.” 5905 Wilshire Blvd., Mid-City; Sun., July 19, 1-5 p.m.; free with RSVP. (323) 857-6010, lacma.org.
4. Soiled cushions
German artist Michaela Eichwald painted all the paintings in her current Overduin & Co. exhibition on pleather. One of the best in the show, titled Restzeit, has perfectly spaced tromp l’oeil cushions painted over the beige pleather. This makes the earthy pink and brown shapes loosely painted near the center look like a messy accident on a cheap couch. 6693 Sunset Blvd., Hollywood; through Aug. 1. (323) 464-3600, overduinandco.com.
3. Glitches and screeches
Artist Tim Leanse sometimes makes sounds that resemble prolonged screeching or, in the case of “Mean Streak,” the track he recorded with collaborator Sam Rowell, a garage rocker’s lonely tantrum. While listening, it’s easy to imagine a guy with wild hair hitting his drum set and knocking things over, alone late at night. Leanse organized the music program for “X Poly Nation,” a night of sound and video at Night Gallery. Curator Marc Leblanc chose the videos, which include work by Hannah Perry, who makes glitchiness sexy, and Keren Cytter, who made an intentionally uncomfortable video about two couples playing the memory game Simon. 2276 E. 16th St., downtown; Sat., July 18, 8 p.m. (323) 589-1079, nightgallery.ca.
2. Bring food
“Let Power Take a Female Form" can’t be devoured in a single visit to the Box. There’s too much to take in. There’s work from the experimental gallery Eugenia Butler opened in L.A, in the late 1960s. There’s art by Butler’s daughter, Eugenia P. Butler, including these minimal but confessional drawings, and a re-creation of an installation she did in the 1970s, of a honey-soaked sheet covered in dead flies (the flies were released from little boxes the night of the opening). Then there’s art by Corazon del Sol, Eugenia P.’s daughter, including a video game in which a three-legged creature navigates an open-ended cosmos, encountering flying vaginas at one point. To give people time to absorb the work, and talk about it, the Box is hosting weekly gallery potlucks, an unusual move that’s perfect for this show. 805 Traction Ave., downtown; Thu., July 16, 23 & 30, 4-7 p.m. (213) 625-1747, theboxla.com.
1. The matriarch knows best
Almost everything in “Flat World,” the group show organized by New York publisher Karma at David Kordansky Gallery, is sleek and under control. John Mason’s blue ceramic spear looks like something from an aerospace factory, as does Robert Grosvenor’s lime-green, triangular 3 Wheeled Car. Even Tauba Auerbach’s The New Ambidextrous Universe V, a floor sculpture assembled from waves of wood, looks as if it was made by someone who finds disorder discomfiting. But then there are Lee Lozano’s aggressive 1960s drawings of hammers and screws, and her big gray painting of a clamp, which makes a metal tool look like an amorphous monster. That painting hangs in the back of the gallery, behind all the slickness, making Lozano seem like a matriarch who's learned to let go. 5130 W. Edgewood Place, Mid-City; through Aug. 15. (323) 935-3030, davidkordanskygallery.com.
Catherine Wagley on Twitter
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