Conceived for twin pianos, live electronics and voice, this exhilarating sonic exploration led by Jace Clayton, a.k.a. DJ /rupture, brings fresh insight to the artistic legacy of the late Julius Eastman.
Duly hailed for his exquisite compositions and sympathetic feel for the rhythms of his cinematographic subjects, peripatetic filmmaker extraordinaire Robert Fenz also brings a keen contextual understanding to his lyrical 16mm explorations of the human condition around the globe.
REDCAT is one of several L.A. venues for this three-week, multi-city showcase that surveys the rich multiplicity of voices making China such a dynamic film and media environment. The program ranges from the latest internationally acclaimed auteur films to crowd-pleasing homages to major figures of Chinese cinema, from experimental media to online microfilms.
Plying rhythmic forms and sonic colors in a shared language of improvisation, jazz pianists Andy Milne and Benoît Delbecq partner with the Japanese koto duo TsuguKaji-KOTO, amidst the swirling washes of Saki Murotani’s projected animation.
First written 30 years ago, David Rosenboom’s Zones of Influence is a landmark concert-length work for percussion soloist, live computer-generated electronics, and auxiliary keyboard and glissando instruments.
Small Museum for the American Metaphor is an exhibition which brings together European perspectives on the American West, and more specifically, the particularities embedded in the idealized fictions surrounding it.
In this lecture/performance in the REDCAT Lounge, Héctor Bourges, a member of the Mexico City-based theater/performance art ensemble Teatro Ojo, combines a series of gestures with images of historical events that have influenced the Mexican national identity project.
Over three Tuesday evenings in the REDCAT Lounge, he develops and performs a new version of his latest project, The Marsyas Hour, an impromptu script for a TV pilot that recounts everyday life on Mount Olympus through the eyes of the young satyr Marsyas.
What if an art exhibition were an exercise, and the preparations toward a process of common exercising between artists, ideas, hosts and curators? Would it shift how we understand development and time—the time of making and of experiencing?