SHOWS

 

June 27th, 7 PM, 2014

Cover, Junk, Strike

with Corey Fogel, Jules Gimbrone, and Rosalind Nashashibi
Curated by Suzy M. Halajian


Friday June 27th, 7PM / one night only
*Performances start at 8PM (see below)

7PM: Rosalind Nashashibi’s “The State of Things” (2000), with installations on view.
8PM: Jules Gimbrone’s “Taking Up Space” with performers Nick Duran, Lydia Okrent, and Mariana Valencia.
8:45PM: Corey Fogel performance.

FLAX Fahrenheight
2245 E Washington Blvd | Los Angeles, CA 90021

Taking Up Space is an investigation into the myriad of overlapping forces through which a body asserts itself. Using shape-shifting idiomatic language, affect, and the power of entitlement—performers, the gallery, and the sounds they produce all become objects in space. Simultaneously fragile and intrusive, large balloons filled with hot air from a series of performed environmental interventions, become an acoustically bombastic stand-in for the body—tender balls. The gallery itself is amplified and disoriented through the playing of itself as feedback loops through a heterogeneous assortment of props, sculptures, or road-blocks through which the audience roams.

To read more about Cover, Junk, Strike, please go here.

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May 17th – July 18th, 2014

 

The Third Ear

Opens Saturday May 17, 6 – 9 pm

Closing Performance July 15th

Exhibition runs thru July 18, 2014

Fellows of Contemporary Art

970 N. Broadway, Suite 208

Los Angeles, CA 90012

FOCA’s Exhibition Space is open Tuesdays thru Fridays from 10 am – 5 pm

 

In the same way that the “third eye” is a metaphor for a real or imagined sensory organ

that perceives less tangible matter, conceivably, the “third ear” also perceives a realm

located somewhere beyond what can be immediately verified.

 

Human sensory perception registers just a fraction of the electromagnetic spectrum

(EMS) as sound and light. All sound and light, even matter vibrates and has a specific

resonant frequency. The human ear perceives sound at waveforms between 20 and 20k

Hz while light and color resonate at much higher frequencies. Still, there are a whole

range of EMS frequencies that exist beyond the capabilities of our sensory organs. It is

here that one could envision the third ear functioning - in a range somewhere between

sound and light, between the audible and the visible.

 

The Third Ear exhibition invites five Los Angeles Based artists working with visual

approaches to sound to participate in an exhibition that investigates the aural in

contemporary visual art. Inspired by a subtitle to a recording by artist and composer

Maryanne Amacher, The Third Ear explores the space between sound and visual

cognition through contemporary sound art practices in Los Angeles.

 

Organized by artist and independent curator Chiara Giovando, The Third Ear, includes

works by Jules Gimbrone, Chiara Giovando, Mette Hersoug, Alison O’Daniel and

John Wiese.

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July 8th – August 8th

 

N (enter) S

Openings July 8th and August 8th, with performances and exhibitions open throughout the month long residency.

 

 

LACE (Los Angeles Contemporary Exhibitions)

6522 Hollywood Blvd.
Los Angeles, CA 90028
t: 323.957.1777 I f: 323.957.9025
e: info@welcometolace.org

 

Co-curated and produced by Jules Gimbrone, Brian Getncik and Tanya Rubbak. Organized by Assistant Director Shoghig Halajian.

 

Thursday July 17
7pm-8pm – Chiara Giovando (MANKIND) & Christopher Routree
8pm–9pm – Luke Fischbeck & Anna Luisa Petrisko (Jeepneys)

Friday July 18
7pm-8pm – Jules Gimbrone & Erik Avery
8pm-9pm – David James Paha & Michael Anthony Ibarra
9pm-10pm – Archie Carey & Molly Allis (Bear Club)

Future Music Issues Events July 26, 27

Native Strategies: N (enter) S installation at LACE is a Native Strategies issue come to life within three-dimensional space. Throughout their residency, Native Strategies will invite over 30 artists to perform in the LACE galleries and enact the process of producing a journal. Positioning people and their practices directly into each other’s orbits, the project’s model of research is to pay close attention to what is happening on the ground in Los Angeles and to represent the divergent ideologies, methods and wisdom of contemporary practitioners and investigating critics. The aim is to intersect diverse forms and ideas among artists from different regions, classes, and degrees of formal education, ethnicity and sexuality.

ABOUT NATIVE STRATEGIES
Native Strategies is a network of performance art makers, producers and critical thinkers who seek to invigorate and make globally visible Los Angeles’s performance art community. Co-directed by Brian Getnick and Tanya Rubbak, Native Strategies is a 5 year long study (2011 – 2016) of LA performance modalities through the creation of 10 differently themed performance series and 10 uniquely designed journals, resulting in a book. This summer they welcome guest curator Jules Gimbrone to collaborate on N (enter) S and Issue # 5: Music Issues – the privileging and negation of bodies of sound with a series of weekly performances of sound and music production. www.nativestrategiesla.com.

ISSUE 5: UPCOMING PERFORMANCES

Thursday July 17
7pm-8pm – Chiara Giovando (MANKIND) & Christopher Routree
8pm–9pm – Luke Fischbeck & Anna Luisa Petrisko (Jeepneys)

Friday July 18
7pm-8pm – Jules Gimbrone & Erik Avery
8pm-9pm – David James Paha & Michael Anthony Ibarra
9pm-10pm – Archie Carey & Molly Allis (Bear Club)

Saturday July 26
1pm-2pm – Odeya Nini & Oscar Miguel Santos (Sister Mantos)
2pm-3pm – Dorian Wood & Claire Cronin

Sunday July 27
1pm-2pm – Todd Lerew, Lee Relvas, & Lauren Bousfield
2pm–3pm – Morgan Lee Gerstmar & Xina Xurner
3pm-4pm – Weba Garretson & Ingrid Lee

ABOUT THE PROJECT
The N (enter) S installation is a Native Strategies issue come to life within three-dimensional space. Audiences can literally step into graphic design and observe the act of creating and archiving content in real time.

The installation consists of three stages:

Stage 1 is a mock television studio in which artists engage in dialog and perform with and for each other.

Stage 2 is a production desk where the document is created. The activities of research gathering, editing, and design are performed and projected.

Stage 3 is the distribution center displaying NS journals, other related publications, and relevant research and reading materials.

SUPPORT
Native Strategies: N (enter) S is made possible in part by a grant from the City of Los Angeles, Department of Cultural Affairs. The Echo Park Film Center and Side Street Projects have generously donated equipment for the production of this installation.

FUTURE

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PAST

June 20th, 2014

Performance time TBD

All Sound is Queer

Bowerbird

The Rotunda

4014 Walnut St, Philadelphia, Pennsylvania 19104

Curated by Catherine Pancake

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JANUARY 11, 2014

Benefit for BOMB Magazine: Grubbs / Yeh / Keszler trio, Jules Gimbrone, Ben Lerner & Amy Sillman

ISSUE PROJECT ROOM: 22 BOERUM PLACE, BROOKLYN 11201 (MAP)

DONATION $25

David Grubbs / Eli Keszler / C. Spencer Yeh

First-time trio performance by these three musicians.

Jules Gimbrone w/performers 

Mariana Valencia – movement,  Julia Read – voice,  William Lang – trombone,  Christopher McIntyre- trombone,  Jules Gimbrone – voice with electronics, objects, and space
Ben Lerner

Poet and novelist, author of the celebrated Leaving the Atocha Station.

Animated Drawings by Amy Sillman
Two videos, to be introduced by the artist: Draft of a Voice-Over for Split-Screen Video Loop and Pinky’s Rule.

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NOVEMBER 10th, Philadelphia, 2013

Counter/Acts: Jules Gimbrone, devynn emory, Geo Wyeth

Vox Popoli

November 10, 2013 – 5 pm outdoor performance by Jules Gimbrone, followed by performances by devynn emory and Geo Wyeth in AUX at 7 pm

Curatorial Fellow Marissa Perel has programmed an evening of performance by devynn emory, Jules Gimbrone, and Geo Wyeth as part of the Counter/Acts series. Counter/Acts is a dynamic exchange between artists from multiple disciplines and cities. The series facilitates a dynamic exchange for artistic communities, emergent ideas, and forms of performance.

Jules Gimbrone will present Outer Edges for the surrounding environment of Vox Populi and the AUX performance Space.This durational piece will begin at sunset (5 PM), as performers map the outdoor spaces of the gallery with a score that dictates location as well as sonic material.  The outdoor performance will coincide with a video installation inside AUX, “This body is not that solid.” Outer Edges investigates the intersections of the perceived solidity of formal  structure with the dynamic and transitional nature of sound.  Utilizing dirt, large steel sheets, magnets, electronics, and metal scraps, Jules and performers create a series of feedback/reverb loops. As these sounds circle in cacophonic precision, they problematize the ‘being-ness’ of the sheets and with their slippery, bombastic, sonic fluidity.  The visibility of this transitional state is located through the perceivable physical change created from sound on and through the body. The performance is an extension of the sonic, spatial, and bodily considerations explored in a previous sculptural performance piece A Thin Wall Sympathetically Maintainedwhich premiered outdoors in Moon Canyon in Los Angeles in August 2013.

Influenced by the history of set design for dance, the grid, queer mapping, the wall and floor drawings of Sol Lewitt and John Diviola, devynn emory‘s This room this braid revisits essences of formal dance training with dance artist Aretha Aoki. Painter RJ Messineo will create a large scale painting for the AUX performance space in conversation with the performance. emory is thrilled to return to their hometown of Philadelphia to explore this developing project. It will premiere as an evening length program in NY with Issue Project Room this coming January.

Geo Wyeth’s practices expand on narrative and popular music performance through experimentation with the formal ideas of repetition, interruption, amateurism and representation, often with handmade props and sets. Wyeth will present an excerpt from his ongoing Kitchen Steve project. Kitchen Steve is a commercial musician and an exhibitionist. He will be performing at the AUX performance space with his daughter.

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NOVEMBER 6th, NYC, 2013

I guess I’m not angry that I daydream but I am angry

Jen Rosenblit invites you to a benefit performance and barter gathering to raise funds and excitement for her first evening length show, “a Natural dance” which will premiere in May 2014 in New York City.

November 6th 7-9pm, at BRAZIL 1182 Flushing Avenue in Brooklyn

Performances begin promptly 730pm and there will be late entry until 8pm!

BRAZIL is located around the corner from the Jefferson L train stop. Exit at the rear of the station, turn left out of the station and make your first left on Flushing. 1182 will be the red building on your left, there will be a person at the door to let you in. Haircuts by Mariana Valencia and Tarot readings by Addys Gonzalez available for sliding scale all night!

Artworks and items for sale and/or barter:
-signed copy of A Choreographic Mind by Susan Rethorst
-2 and 3 dimensional artworks by Strauss Bourque, Guadalupe Rosales, Shane Powers, Ulrike Muller and many many more!

Performances by
Walter Dundervill
Jules Gimbrone back for a few days from the left coast!
Hilary Clark
Geo Wyeth
Video by
Kerry Downey and Joanna Seitz
Toast and speech by
Juliette Mapp

$25 entry, drinks and flirtations at the bar for donations
http://www.brownpapertickets.com/event/495756

all funds go directly to the budget of making this new work. Any donations made not in exchange for services or goods are are tax deductible. Such donations can be made at this event or on the link listed below at any time! I have strange feelings about crowd sourcing, but it seems to work. Labor of the body and the heart is crucial to this new work and the people in it and the people who will see it. In order to ask for help, I need us all in the room together. I need there to be an exchange. We need to be confronted by ourselves and each other. Please come spend the evening, see some of my sweet friends perform and share their work. They have donated this experience for me to share with you. Bring your dollar bills. Get a haircut, watch and feel things. This is the only way I ever want it to be. I need your help to make this happen.

https://newyorklivearts.secure.force.com/donate?dfId=a0ni0000000juJjAAI

Jen Rosenblit is a member artist of New York Live Arts, Inc., a non-profit tax-exempt
organization. Contributions in support of Jen Rosenblit’s work are greatly appreciated and
may be made payable to New York Live Arts, Inc., earmarked for “the New York Live Arts
member project of Jen Rosenblit.” A description of the work and current project
activities for which such contributions will be used are available from Jen Rosenblit or New
York Live Arts, upon request. All contributions are fully deductible to the extent allowed by
law. (Note: A copy of New York Live Arts’ latest annual financial report filed with the New
York State Department of State may be obtained by writing to the N.Y.S. Dept. of State,
Charities Registration, 162 Washington Avenue, Albany, NY, 12231, or to New York Live Arts,
219 West 19th Street, New York, NY, 10011)

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OCTOBER 22 – 25th, 2013

THIS BODY IS NOT THAT SOLID

This body is not that solid is a durational performance and installation in the Black & White Gallery (A404) at CalARTS from October 21 – October 25th, with a cumulative performance on Thursday, October 24th at 8 pm.

This body is not that solid is an experimental investigation into the intersections of the perceived solidity of formal structure with the dynamic and transitional nature of sound. Utilizing video, dirt, large steel sheets, magnets, electronics, and metal scraps, Jules and performers create a series of feedback/reverb loops. As these sounds circle in cacophonic precision, they problematize the ‘being-ness’ of hard steal with their slippery, sonic fluidity. The visibility of this transitional state is located through the perceivable physical change created from sound on and through the body.

During the week Jules will be asking performers to commit to one-hour time slots in which they will perform short, simple scores. These scores will dictate location in the gallery based on a grid system, and the performances will interact with four large metal sheets, or reverb plates, as they are manipulated, moved, and sounded. The performances will be recorded with two sets of stereo pair microphones, thus mapping the grid, in addition to a set of binaural microphones which Jules will wear throughout the week. As Jules manipulates four large metal sheets, reconfiguring their placement and content, the structures that hold these sounds will become less locatable and more dispersed into the environment. The final performance will be a re-playing of all of these recorded sounds, looped and stacked upon each other, thus turning the grid into a time-based monolithic cube.

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SEPTEMBER 29th, 2013

FAULT LINES ALBUM RELEASE AND PERFORMANCE

SYMPATHETIC RELEASE

Sunday, September 29, 2013
7:00pm – 8:00pm

Human Resources LA (map)
410 Cottage Home St
Los Angeles, CA, 90012
USA

PACK PROJECT presents

FAULT LINES

Compilation Album Release / Performance / Installation

Performance and video installation “SYMPATHETIC RELEASE” by Barnett Cohen & Jules Gimbrone with select performance by contributors to FAULT LINES by

Morgan Gerstmar
Molly Allis / Jenica Anderson
David Paha
Jules Gimbrone
Aidan Reynolds
Max Wanderman
Odeya Nini
Marcus Rubio
Todd Lerew
Alex Black
Sarah Faith Gottesdiener / Oscar Santos
Bridget Batch
Jen Hutton

http://packprojects.us/projects/

PACK PROJECT presents FAULT LINES will contextualize the album, book, and text through performance, video, and installation.

FAULT LINES started as a desire to cultivate a space where sound becomes a physical presence. By locating artists inside a geological feature of the earth, FAULT LINES encouraged composers to create time-based work that resembles the extreme temporal scales of tectonic plates. Whether these plates appear deeply still or silent, at any moment they can send waves of massive movement and disruption. This buildup of potential energy or stress within a fault line is stored until the strain is released, causing rupture. This latent energy is analogous to the medium of recorded sound, specifically the vinyl LP that holds kinetic energy in its rotation. Although each composer worked independently from Jen Hutton’s text, the pieces are connected by their experimentation in timbre, a textural feature that helps to objectify sounds, and gives differentiation regardless of pitch or loudness. A focus on the physicality of sound textures, and the spaces that these sounds inhabit, appear to dictate the artists’ compositional choices. Often sound is considered an abstract, liminal, and/or transitory medium given meaning through its narrative thrust — where it takes the listener through a linear, time-based journey. FAULT LINES, however, is an attempt to give sound a physical body, a body where time bends, is held, expands, and is again made solid.

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AUGUST 5th, 2013

SUNSET AT MOON CANYON – Dog Star 9

Mt. Washington, LA, CA

Experimental music in Moon Canyon
from Day to Dusk to Night

Daniel Corral – L.A. Canon//Jules Gimbrone – A Thin Wall Sympathetically Maintained//Stephanie Smith – Crickets//Odeya Nini – Web Cast (Moon Canyon Variation)//James Klopfleisch – Sleep Tight

Meet at 5:30 pm at Archie & Odeya’s house (607 Crane Blvd, Los Angeles, CA, 90065)
For a pre-concert reception. We will walk from there to moon canyon at 6:30 pm (0.3 mile walk)

You can also drive to Moon Canyon (http://goo.gl/maps/pzMC6)

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AUGUST 15th. 7pm, 2013

HUMAN RESOURCES – Byron Westbrook: Interval/Habitat

Los Angeles, CA

Jules Gimbrone with Alex Black and cellist Betsy Rettig - A Thin Wall Sympathetically Maintained Pt. 2

with additional performaces by Alison D’Amato, Jos McKain and Jillian Stein / Jeff Witscher

Byron Westbrook’s Interval/Habitat will be installed for two weeks at Human Resources with an accompanying series of performances, each of which offers focused examples of what may emerge from the imposition of Interval/Habitat’s dramatic structure on physical interaction, perception and communication. Performance Schedule can be found on Human Resources L.A.’s website.

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AUGUST 17th, 5 pm, 2013

The Wild Beast, CalArts

Dog Star – es geht weiter – Compositions by Wandelweise members

Daniel Brandes, Through the window and the wood, Andrea Young, voice (+ electronics), 10’

Sam Sfirri, March 1 (Mari, Jules Gimbrone, Marcus Rubio, Christopher Schunk, Andy Young)
(ca. 5’ or less)

Stefan Thut, abc, 1–6, Colin Wambsgans, Michael Pisaro, Stephen Touchton (ca. 10’)

Jason Brogan, symphony, 2010 (everyone) (ca. 7’?)

Dante Boon, 2 Delen [after Sam Sfirri], Michael Pisaro, Janet Kim (ca. 8’)

Taylan Susam, for Joseph Kudirka (Christopher Schunk, Max Wanderman, Jules Gimbrone,
Marcus Rubio)(ca. 5’)

Sam Sfirri, April 16 (JanetKim, Stephen Touchton, ColinWambsgans, MaxWanderman,
Mari) (ca. 5’ or less)

Johnny Chang, Von Bingen Backgrounds, Andrea Young, voice, Michael Pisaro, Andy Young
(guitars)(ca. 6’)

Andrea Young, voice – Thee Olde Tyme “Varia” Players (Mari Garrett, Jules Gimbrone, Michael Pisaro, Marcus Rubio, Christopher Schunk, Stephen Touchton, Colin Wambsgans, Max Wanderman, Andy Young)

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© 2013 JULES GIMBRONE
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