LUIS DE JESUS LOS ANGELES

 

 

MAY 18 - JUNE 29, 2013

OPENING SATURDAY, MAY 18, 6-8 PM


 


 Antonia Wright, Be, 2013, Luis De Jesus LA

 

Gallery One
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ANTONIA WRIGHT

 

Be

 

They start by placing a queen bee around my neck, on my shoulder, and one on my back.  Then they all follow.  I had the idea while putting honey in my coffee and watching the war on the news--a colony of honey bees has often been employed as a model of human society.

 

At the beginning of the sequence, you open the door.  I realize quickly if I don't harm them, they won't harm me.  At one point a queen falls down my chest and I feel the others follow like a dam that has broken.

 

In the dream, honey started dripping a long straight line from my legs.  You were once wild here. Don't let them tame you, said Isadora Duncan.

 

The men from the stage company are in the back taking cell phone photos.  Everyone says nothing after it is done.  At the end, you close the door (which also symbolizes isolation). 

 

The next day I have scratch marks where the three queens were.  Those bees closest to her didn't want to lose their place.

 

  

Marisol Rendon, So Dragons Do Exist, 2013, Luis De Jesus LA
  

 

Gallery Two
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MARISOL REND�N 

 

So, Dragons Do Exists? (Considerations of the Unavoidable Syndrome of Illusion)

 

When I think, I think about those constant, daily things or concepts with which we coexist, or we have to coexist--need, illusion, self-deception, poverty, hopelessness.

 

We inhabit a world in which we unceasingly look for a way, any way, to justify the difficult and, sometimes, the impossible.  Mythologies help us to find meaning in the senseless and wonder in the unknown; dreams and hope help us to keep our balance.  However, I'm certain of something: in most cases, behind and after each moment of illusion, there is a sigh of resignation.

 

The reality of the Komodo dragon is that of a living dinosaur: they are massive, exotic creatures. Yet, compared to images of fire breathing, winged beasts as conjured by their name, they can't help but disappoint. In this work, I use the Komodo dragon to negotiate between our need for hopes and illusions, and myths and dreams--which allow us to face the unknown with wonder--and the cognizance it takes to make the right choices.

 

We constantly attempt to strike a balance between the dualities in our existence: hope and resignation, joy and suffering, dreams and reality, mythos and logos. In So, Dragons Do Exist?offer an opportunity to find that balance in a moment of empathy and contemplation. 

 

 

Hugo Crosthwaite, Studies for CARPAS, Luis De Jesus LA

 

Project Space

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HUGO CROSTHWAITE

 

Studies for CARPAS

 

In Mexico and the Southwestern United States, the carpa (Spanish for "tent") theater flourished during the 1920s and 30s. The carpas, groups of itinerant performers, moved their collapsible stages from town to town, setting up in the main square or the middle of a street and presenting a program that spoke directly to their mixed-class audience. The material presented in the carpas was highly satirical and frequently political in nature. The central character, the pelado, is the Mexican national clown. A penniless underdog, he brought the popular concerns and spirit ignored by official society into performance, improvising comic routines on such topics as the high cost of living, political scandals, and treacherous political leaders.

 

Hugo Crosthwaite's CARPAS installation will be presented at the forthcoming inaugural California-Pacific Triennial, curated by Dan Cameron, at the Orange County Museum of Art, June 30 - November 17, 2013.

 

For more information on these artists and their work, please contact the Gallery at 310-838-6000, or email: gallery@luisdejesus.com.

 

  

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LUIS DE JESUS LOS ANGELES

2685 S LA CIENEGA BLVD

LOS ANGELES, CA 90034

T 310 838 6000

F 310 838 6001

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