This week, there’s a rock doc on Riot Grrrl godmothers, a book signing for a new collection of work by street photographer Ed Templeton, the closing of Max Hooper Schneider’s messy science experiments, and more!
She Said Boom: The Story of Fifth Column
When: Wednesday, December 17, 7pm
Where: 356 Mission (356 S. Mission Road, Boyle Heights, Los Angeles)
Before Pussy Riot, before Bikini Kill, there was Fifth Column. Formed in Toronto in 1981, this group of women began as a punk band, later expanding into underground filmmaking and zine production. In this sense, they form a bridge between 1970s female punk pioneers like The Slits, and the DIY Riot Grrrl and Queercore scenes of the 90s. She Said Boom, a 2012 documentary, chronicles the group’s development and contributions to these later movements. The evening also includes a performance by Sex Stains, featuring Allison Wolfe of seminal Riot Grrrl band Bratmobile, and DJ set from Seth Bogart of Hunx and his Punx.
Unwatchable Scenes and Other Unreliable Images
When: Wednesday, December 17, 8–10pm
Where: Public Fiction (749 N. Ave 50, Highland Park, Los Angeles)
Public Fiction presents two films that question the reliability of what we see on the screen. Adrià Julià’s “Unwatchable Scenes” is part of “Notes on the Missing Oh,” his multipart work re-examining Inchon, the failed 1981 Hollywood film set during the Korean War. As the press release states, Julià’s film “turns obsolete and damaged images into abstraction, reenactment, seduction and the representation of violence.” They’ve paired this work with Miljohn Ruperto and Aimée de Jongh’s “Janus,” based on the classic duck rabbit optical illusion.
Book Signing: Ed Templeton’s Wayward Cognitions
When: Thursday, December 18, 6pm
Where: MOCA Grand (250 S Grand Ave, Downtown, Los Angeles)
Ed Templeton began skateboarding in the 1980s, shredding across Orange County with his best friend Jason Lee. Since then, he’s become a multifaceted artist, most well known for documenting street and skate culture through his photographs. He’ll be having a signing for his latest book, Wayward Cognitions, which brings together 20 years of these photographs that capture “the in-between moments that arise when shooting in the street without a theme or subject.”
Michel Auder / Józef Robakowski: Street Life
When: Closes Thursday, December 18
Where: Fahrenheit (2245 E. Washington Blvd, Downtown, Los Angeles)
Video art pioneers Michel Auder and Józef Robakowski chronicled the street life going on outside their windows with voyeuristic detachment. Throughout the 1970s and ’80s, they turned their cameras on the public spaces of New York City and Lodz, Poland respectively. The exhibition reflects on the tensions between the public and the private. These works take on another layer of meaning when transported to a city often erroneously derided as lacking any sort of public life.
When It Is Dark Enough
When: Opens Saturday, December 20, 5–10pm
Where: CES Gallery (709 & 711 Mateo Street, Downtown, Los Angeles)
When it is Dark Enough brings together artists who alter the body through collage, appropriation, and distortion. The results are darkly humorous and fascinatingly grotesque.
Work featured in the show includes Ashkan Honarvar’s Hannah Hoch–esque collages, Amir H. Fallah’s paintings that take on ethnic objectification, and Eric Yahnker’s obsessive, surreal drawings.
Max Hooper Schneider: The Pound
When: Closes Sunday, December 21
Where: Jenny’s (4220 Sunset Boulevard, Silverlake, Los Angeles)
Max Hooper Schneider‘s dystopian DIY science experiments combine all manner of animal, vegetable, and mineral into works that elicit both delight and revulsion. He fills vitrines with unwieldy materials like blood (human and animal), invasive snails, and bioegineered fruit, while animating industrial debris like rebar that sways and twists, and a treadmill fitted with a faux crocodile skin belt. “Goofy, pathetic, hyperbolic, and desperate,” says Travis Diehl in his Artforum review “—like ugly puppies—these are artworks that maybe, queasily, will haunt our dreams forever, but that only their maker could love.”