Label: HalTapes - none • Series: Exquisite Corpse Audio Chain Letter - none • Format: 81x, File MP3, Compilation VBR • Country: US • Genre: Electronic • Style: Industrial, Chiptune, Freestyle, Illbient, Abstract, Experimental, Rhythmic Noise, Dark Ambient, Drone, Noise, Musique Concrète, IDM, Modern Classical, Power Electronics, Downtempo, Broken Beat, Minimal
With your year long Carla subscription, you will receive a new issue right to your doorstep every 3 months. Our advertising program is essential to the ecology of our publication. Ad fees go directly to paying writers, which we do according to W. We are currently printing runs of 6, every three months. Our publication is distributed locally through galleries Exquisite Corpse Audio Chain Letter 164 - Various - Exquisite Corpse Audio Chain Letter Volume 3 art related businesses, providing a direct outlet to reaching a specific demographic with art related interests and concerns.
To advertise or for more information on rates, deadlines, and production specifications, please contact us at ads contemporaryartreview. Exquisite L. Drawing on the history of the Surrealist Exquisite Corpse, we wish to create a communal portrait of the current Los Angeles art world.
This is an ongoing story of Los Angeles—its twists and turns, side streets, and freeways. Their individual gaze, pose, or gesture becomes a continuous visual marker for the exquisite corpse that is Los Angeles. Volume I began in Carla issue 5 and concluded in the summer of in issue 8.
For volume 2, we start Kingdom Under The World - O, Majestic Winter - An Autumn Moon journey here with Anna Sew Spelmansbruden - Harry Brandelius - Spelmansbruden / Nordsjön (Shellac). In volume I, we had each artist write about the artist they chose after we photographed them.
For this new iteration, we are adding an audio component: each artist will be recorded speaking about the artist they have chosen to be next in the series. Then those words will be played during the photo session with that artist, allowing for the presence of the previous artist in each portrait, furthering the idea of a collective body. Now the exquisite corpse is connected by the human voice.
We, the observers, are stepping even further back, leaving the artists to hold space with and for each other. I was new to America, and I wandered the exhibition spaces looking for some sort of marker that might hint as to what it means to be an artist in this city. Nonchalantly strung with metallic candy colored chains, feathers, and other small curiosities, her clay dream catcher sculptures enticed me with their shiny surfaces.
Some of the shapes hung like suspended anatomical hearts, made vulnerable by the ventricular nature of their construction. They simultaneously felt like protective cages built around something intimate. One of the sculptures was of beer cans constructed into a knot.
Who drank from these cans? Her sculptures feel like an extension of her own body, one that is intricately linked to the fabric of Los Angeles.
Her work manages to be both private and communal, secretive and open. It brings us right to the edge of the collective and the personal, wrapping it up in bands of connecting clay and fabric. In more recent years, works like the oversized tissue dispensers made of clay and placed on elevated pedestals could be viewed as tongue in cheek but also bring to mind people crying in a group therapy session.
Each person that grabs a tissue becomes part of the piece: a multiplication of wipes, of tears, of human experience. Los Angeles tries to be a public city, but it is, at its core, deeply cloistered. People wonder about the lives behind high hedges and security cameras and silhouettes made out through the dark tinted windows of cars.
My move to Los Angeles directly followed an almost four year stint in Auckland, New Zealand, and Maman . Papa - Georges Brassens - La Chanterelle et la Sarabande was surprised to read that Anna was originally from Exquisite Corpse Audio Chain Letter 164 - Various - Exquisite Corpse Audio Chain Letter Volume 3 . At the Hammer, I looked to see if I could find anything comforting from that small island country on the edge of the earth lurking in her sculptures.
Knowing no one here, I wanted to grasp at a chain from one of the dream catchers and let it be a rope that might connect the two of us. But what I experienced was something entirely unknown. This both thrilled and terrified me. Standing alone and motionless in that room, all I felt was vast, empty, untouchable space.
I looked out beyond these shimmering, dark objects to a pink flat horizon—an imaginary L. Her project, Veteranas and Rucasarchives Latino youth culture from then—the ditch parties, the hard techno, the clothes, and make up.
I was 28 years old. When I saw her work, I saw myself, my sisters, and friends. It was a time when I had created distance between me and my family but was starting to feel homesick. I had spent eight years in New York away from family and friends. Originally published in Carla issue Issue 17 Distribution Subscribe Advertise. Issue 16 Distribution Subscribe Advertise. Issue 15 Distribution Subscribe Advertise.
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Photos by Joe Pugliese Exquisite L. Photo: Joe Pugliese.