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Roy and Edna Disney/CalArts Theater CALARTS’ DOWNTOWN CENTER FOR CONTEMPORARY ARTS Winter/Spring 2014 Emio Greco | PC, April 17–19. TENTENTH ANNIVERSARY SEASON Photo: Steven Gunther. Photo: CALARTS’ DOWNTOWN CENTER FOR CONTEMPORARY ARTS ART CONVErsaTIONS DANCE FILM/VIDEO MULTIMEDIA MUSIC THEATER LOCATION REDCAT Housed in the Walt Disney Concert Hall complex, REDCAT has a separate entrance at the corner REDCAT is a multidisciplinary center for innovative visual, performing and of West 2nd and Hope Streets. media arts founded by CalArts in the Walt Disney Concert Hall complex 631 West 2nd Street in downtown Los Angeles. Through performances, exhibitions, screenings Los Angeles, CA 90012 and literary events, REDCAT introduces diverse audiences, students and artists to the most influential developments in the arts from around the world, and gives artists in this region the creative support they need to PARKING achieve national and international stature. REDCAT continues the tradition Parking is available in the Walt Disney Concert Hall parking garage. of CalArts, its parent organization, by encouraging experimentation, discovery and lively civic discourse. Only $5 after 8pm on weeknights $9 flat rate all day on weekends REDCAT.ORG TICKETS REDCAT.org 213.237.2800 The REDCAT Box Office is open Tuesday–Saturday, CALARTS noon–6pm, and two hours prior to curtain. Seating at REDCAT is unassigned, and late seating California Institute of the Arts is an internationally recognized pacesetter is not guaranteed. Programs, schedules, prices and in the education of professional artists. Offering rigorous undergraduate artists subject to change. and graduate degree programs through six schools—Art, Critical Studies, Dance, Film/Video, Music, and Theater—CalArts has championed STAY CONNECTED creative excellence, critical reflection, and the development of new forms Sign up to receive our brochures and weekly email and expressions. As successive generations of faculty and alumni have updates for the latest information on REDCAT events, helped shape the landscape of contemporary arts, the Institute first special offers and more. envisioned by Walt Disney encompasses a vibrant, eclectic community REDCAT.org with global reach, inviting experimentation, independent inquiry, and Find us: CalArtsREDCAT active collaboration and exchange among artists, artistic disciplines and cultural traditions. Based in Valencia, north of Los Angeles, CalArts further extends its commitment to the arts through REDCAT and the nationally emulated Community Arts Partnership (CAP) youth arts program. CALARTS.EDU Front cover: Emio Greco | PC. Photo: Gerco de Vroeg REDCAT IS CALARTS’ DOWNTOWN CENTER FOR CONTEMPORARY ARTS TH ANNIVErsarY SEasoN TEN Winter/Spring 2014 JANUARY 17–18 MARCH 21 APRIL 26–MAY 11 HERB ALPERT AWARD ARTIST–DANCE MUSIC FAMILY–FILM/VIDEO THE WOODEN FLOOR REINIER VAN HOUDT REDCAT INTERNATIONAL CHILDREN’S FILM FESTIVAL JANUARY 20 MARCH 22–23 FILM/VIDEO THEATER–MUSIC–DANCE–MULTIMEDIA APRIL 28 LYNNE SACHS: STUDIO: WINTER 2014 FILM/VIDEO YOUR DAY IS MY NIGHT THE ART of COLLISION: MARCH 27–29 MONTAGE FILMS by HENRY HILLS JANUARY 24–MARCH 15 MUSIC–THEATER–MULTIMEDIA ART TIMUR AND THE DIME MUSEUM: MAY 5 PABLO BRONSTEIN: COLLAPSE FILM/VIDEO ENLIGHTENMENT DISCOURSE ON JUAN MANUEL ECHAVARRÍA: THE ORIGINS OF ARCHITECTURE APRIL 3–6 COPING with VIOLENCE, DEFYING OBLIVION DANCE–THEATER JANUARY 25–26 TRAJAL HARRELL: MUSIC–MULTIMEDIA ANTIGONE SR. / MAY 31–JUNE 1 A MORE CONVENIENT SEASON TWENTY LOOKS OR THEATER–MUSIC–DANCE–MULTIMEDIA COMPOSED by YOTAM HABER PARIS IS BURNING STUDIO: SPRING 2014 AT THE JUDSON CHURCH (L) JANUARY 27 JUNE 6–7 FILM/VIDEO APRIL 5–JUNE 1 MUSIC THOM ANDERSEN and ART–FILM/VIDEO PARTCH: BOO INTRUSIONS NOËL BURCH: RED HOLLYWOOD JAVIER TÉLLEZ JUNE 8 FEBRUARY 4 APRIL 7 DANCE–FILM/VIDEO MUSIC FILM/VIDEO DANCE CAMERA WEST CHASE/COLPITTS/KRIEGER: BODY and FLESH: THE TACTILE PERCUSSION, JUSTLY TUNED CINEMA of LUTHER PRICE JUNE 12–14 DANCE–MUSIC FEBRUARY 7–9 APRIL 9 LIONEL POPKIN: THEATER–MULTIMEDIA MUSIC RUTH DOESN’T LIVE HERE ANYMORE MIWA MATREYEK: VINNY GOLIA LARGE ENSEMBLE THIS WORLD MADE ITSELF and JUNE 27–AUGUST 24 MYTH AND INFRASTRUCTURE APRIL 12–13 ART–PERFORMANCE HERB ALPERT AWARD ARTIST–MUSIC ALLORA & CALZADILLA FEBRUARY 10 ANNE LEBARON: FILM/VIDEO PORTRAIT CONCERTS FAR FROM BEIJING: THE STATE of INDEPENDENT CALARTS at REDCAT APRIL 14 The end of the school year brings a series of special CHINESE CINEMA FILM/VIDEO programs highlighting new work created at CalArts. SHELLY SILVER: FEBRUARY 17 INTIMATE VISIONS and APRIL 29 & MAY 1–3 FILM/VIDEO PUBLIC SPACES FILM/VIDEO JEAN PAINLEVÉ: CALARTS FILM/VIDEO SHOWCASES THE VAMPIRE, THE SEAHORSE APRIL 17–19 and THE OCTOPUS IN LOVE MAY 9–10 DANCE–THEATER EMIO GRECO | PC: ROCCO DANCE FEBRUARY 27–MARCH 9 THE NEXT DANCE COMPANY THEATER–MULTIMEDIA APRIL 21 THE WOOSTER GROUP: MAY 15 FILM/VIDEO CRY, TROJANS! SMALL NEW FILMS CONVERSATIONS (TROILUS & CRESSIDA) CALARTS WRITERS SHOWCASE APRIL 25 MARCH 20 MUSIC CONVERSATIONS MARK TRAYLE: MAY 23–24 FRED MOTEN MANY SIGNALS ALL AT ONCE THE SUSTAIN: BLACKNESS FAMILY–THEATER and POETRY CAP/PLAZA DE LA RAZA YOUTH THEATER TENTH ANNIVERSARY SEASON TICKETS: REDCAT.org 213.237.2800 “It’s nice to know that some young dancers in our midst are having their skills and perceptions shaped by contemporary work.” —Los Angeles Times JANUARY 17–18 ThE WOODEN FLOOR HERB AlpERT Award ARTIST–DANCE. The Wooden Floor, the Santa Ana youth company composed of gifted dancers from underserved communities, has been inspiring audiences and elevating young lives for 30 years. Its latest program offers works by Herb Alpert Award-winning choreographer Susan Rethorst, New York’s Ivy Baldwin, and company artistic director Melanie Ríos Glaser. Known for a collaborative dancemaking process that enables youth to work side by side with internationally recognized choreographers, The Wooden Floor’s vision of contemporary dance dissolves ethnic, gender, class and age stereotypes in the service of creating transformative art. The Herb Alpert Award in the Arts, a fellowship program that supports innovative practitioners in the fields of dance, film/video, music, theater and visual arts, is administered by CalArts on behalf of The Herb Alpert Foundation. Fri–Sat 8:30pm $20 [members $16] JANUARY 20 LYNNE SACHS YOUR DAY IS MY NIGHT LOS ANGELES PREMIERE FILM/VIDEO. Shot in the kitchens, bedrooms, wedding halls and mahjong parlors of New York’s Chinatown, Your Day Is My Night (2013, HD, 64 min.) is a provocative, many-layered hybrid documentary in which Lynne Sachs explores the immigrant stories that unfold in a “shift-bed” apartment—a domestic space “A strikingly handsome, meditative work… shared, due to economic necessity, by people neither in the same family nor a mixture of reportage, dreams, memories in a relationship. Seven characters ranging in age from 58 to 78 play themselves as Sachs transforms the shift-bed into a stage, illuminating a collective history and playacting.” —The Nation of Chinese immigration through intimate conversations, dreams, autobiographical monologues, songs and theatrical improvisations. Since 1994, Sachs’ experi- mental films have investigated the intricate relationships between personal observation and collective memory, notably in locations of international conflict such as Vietnam, Bosnia and Israel. In person: Lynne Sachs, cinematographer Sean Hanley Presented as part of the Jack H. Skirball Series. Curated by Steve Anker and Bérénice Reynaud. Additional works by Sachs are screened at Los Angeles Filmforum on Jan 19. Mon 8:30pm $10 [members $8] REDCAT IS CALARTS’ DOWNTOWN CENTER FOR CONTEMPORARY ARTS IN THE GALLERY JANUARY 24–MARCH 15 PABLO BRONSTEIN Enlightenment Discourse on the Origins of Architecture ART–PERFORMANCE. This newly commissioned project by Pablo Bronstein (Argentina, 1977) functions as a “staged essay” in which the London-based artist combines a series of drawings, sculptural furniture and choreography to articulate architectural themes from the naturalistic perspective of the Enlightenment. The series of drawings and furniture/buildings together create an intricate setting that represents a traditional 18th-century room. The furnishings are activated by a performer who opens, closes and rearranges the objects in the exhibition, and then returns them to their initial state by means of a set choreography. As the pieces change shape and location, the suite is transformed into an urban plaza reminiscent of the idealized view of a city in traditional Renaissance painting. While in their open position, the pieces create patterns that imitate the elements of a bourgeois city; when closed, they resemble an abstract representation of state power and order. By exaggerating their decorative and constructive morphology, Bronstein gives his objects an essential and practical function, creating a “real architecture” that emphasizes the archeological interests of Enlightenment thinkers, without focusing on the mythological or religious perspectives that dominated the era. Pablo Bronstein, Tragic Stage, 2011. Performance view at the Funded in part with generous support from The Andy Warhol Foundation for the Visual Arts Institute of Contemporary Arts, London. Courtesy Herald St, London. and the British Council. Opening Reception: Fri Jan 24, 6–9pm Exhibition hours: Tues–Sun 12–6 pm Daily performances 3–6 pm or through intermission Free TICKETS: REDCAT.org 213.237.2800 JANUARY 25–26 A More Convenient Season COMPOSED by YOTAM HABER WEST COAST PREMIERE MUSIC–MULTIMEDIA. Taking
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  • Chris Brown's Six Primes

    Chris Brown's Six Primes

    Chris Brown’s Six Primes (2014), for retuned piano in 13-limit just intonation, is like a six-course, fifty-minute microtonal meal: The unique flavors of each new course surprise and delight! The idiosyncratic tuning, shifting modes, asymmetrical rhythmic patterns, and expressive moods are engrossing, and even more so upon repeated listening. The composer premiered Six Primes at the Center for New Music in San Francisco, California, on June 24, 2014. Composer, pianist, and electronic musician Chris Brown composes music for traditional instruments, acoustic instruments with interactive electronics, improvisers, and computer networks. With this new piece—drawing on the Rhythmicana ideas of Henry Cowell, the pure keyboard focus of Conlon Nancarrow, the affection for just intonation of Lou Harrison, and the unadulterated clarity of mathematical process of James Tenney—Brown is staunchly positioned, aesthetically, as a West Coast American experimentalist. Upon hearing Brown’s masterly performance of this virtuosic, contemporary work, it is surprising to learn that he spent a whole year of his early life practicing almost nothing but Robert Schumann’s Piano Concerto in A Minor, Op. 54 (1841), though that explains in part where he got his serious piano chops. Brown was born in 1953 in Mendota, Illinois, a small town ninety miles west of Chicago, and then spent his first few years in Minneapolis. In 1958, his family moved to the Philippines, where Brown lived from age five until nine while his parents worked as missionaries. There, at five, he started taking piano lessons, learning quickly from Bartók’s unconventional and seminal method series Mikrokosmos.