Wednesday, January 02, 2013
Friday, February 10, 2012
Michael Jackson The Immortal World Tour: The Legend Lives On
By Geneva Gámez-Vallejo
Who could forget the day Michael Jackson’s death was solely a heavy rumor waiting confirmation. Rumor or not, it was breaking news across all genres. I mean, we were talking Michael Jackson –the King of Pop, the little boy with the huge afro that stood out through his gracious voice amongst The Jackson Five, who later astonished the world with his unique dancing moves, frightened teenagers with his thrilling movie-like videos of werewolves, zombies and what not, and as the man who also raised controversies over his socially odd behavior but who lastly, really just brought a world of fans together one last time as we said goodbye.
Two years after his death, Cirque du Soleil brings to stage “Michael Jackson The Immortal World Tour”, a spectacle that wraps the beginning and the end of a career full circle in a way that only Cirque du Soleil knows how to do. From start to finish, the crowd is dancing, singing, clapping and yes, crying as well. As the show evolves, Michael’s songs are played and you will hear no one but his voice resonate in the arena, everyone on stage plays a key role in reflecting the effect that his music has on fans, after all, everyone onstage is not only a Cirque performer, they are a true Michael Jackson fan.
In interviewing Leo Moctezuma, one of the show’s performers of Latino decent coming from a proud Puerto Rican family, I asked what his most vivid memory of Michael growing up was, he quickly responded “Aside from watching Michael Jackson’s Moon Walker movie on repeat as a child and trying to learn all the dance steps from each video, I still remember seeing MJ live in Concert, The History Tour 15 rows back from stage on January 4th 1997 at the “Aloha Bowl” in Hawaii with my sister, where I went to High School. I cried, danced and sang almost every song.”
Needless to say, Moctezuma expressed how blessed and honored he feels to be part of the tour nearly fifteen years since that concert. Like a dream in the making, he’s thrilled to share this unbelievably unique experience with his family and most of all -other MJ fans. “I get to dance to his music that I grew up to, and actually do a lot of his original choreography! Michael has influenced me and the world in so many ways, I feel fortunate to help continue spreading his message through music art and basically keeping his spirit alive… Immortal!”
Something many probably didn’t know about the King of Pop is that he was a huge Cirque du Soleil fan. The show’s Publicist, Maxime Charbonneau shared Jackson’s admiration for Cirque du Soleil’s artistic creativity, “…he had seen most of our touring shows in California, and many of the resident shows in Las Vegas. Michael saw our first show to tour the US in 1989 and also visited the Cirque du Soleil International headquarters in 2003. Michael had a lot of respect and admiration for the creativity and artistry involved in Cirque du Soleil production. He saw some of our shows many times, and mentioned to us that he would have loved one day to work on a project with Cirque du Soleil.”
“Unfortunately, we weren’t able to make this happen while he was still alive. After Michael’s passing, Cirque got in touch with The Estate to start working on a unique concept, an ultimate tribute to Michael’s music, his legacy, and his work as a unique human being. Mixing both Cirque du Soleil unique vision to Michael’s music was a match made in heaven. It creates a unique experience for Cirque and Michael Jackson fans,” continued Charbonneau.
One thing you should know about Cirque du Soleil’s tribute to Michael Jackson through this show, is that it is just that -a tribute to his legacy. Don’t go in expecting to experience what would’ve or could’ve been the tour Michael Jackson was preparing so hard for before he passed. This is in no way trying to top, resemble or compete with that, it’s a show all in it’s own stemming from Michael’s admiration for the creativeness, passion and dedication that artists at Cirque du Soleil spill over the stage and onto the audience time and again. Nonetheless, you’ll thoroughly enjoy the music which is all Michael Jackson’s, the costumes resemble many of his signature outfits including the rhinestone gloves and black shoes. An interesting fact about the costumes is that not one single performer’s real hair is used during the show, as real as it may seem, everyone wears a wig and there are quite a few state of the art outfits reliant on technology to lighten up the arena so keep an eye out for those, you’ll be mesmerized.
Michael Jackson The Immortal World Tour will be stopping in San Diego for a two day run. Performances are scheduled for Saturday, January 21 and Sunday, January 22 at the Valley View Casino 3500 Sports Arena Blvd.
Tuesday, July 19, 2011
Small Scale Designs Yet Big Changes for Casa Familiar | La Prensa San Diego
By Geneva Gámez-Vallejo
for La Prensa San Diego
July 8, 2011
MoMita is the child of a larger exhibit “Small Scale, Big Change: New Architectures of Social Engagement” presented at the MoMA
You’ve heard of MoMA, New York’s Museum of Modern Art but you probably haven’t heard of MoMita, Casa Familiar’s newest housing project translated into an exhibition at the facility’s The Front located in San Ysidro.
The show features two progressive architectural designs: “Living Rooms at the Border” or “El Salon” and “Senior Housing with Childcare” also called “Los Abuelitos”. Both are one of eleven projects selected Worldwide as exemplary for there social engaging designs procuring alternative housing density and affordability in undeserved communities. This project in particular also carries awards for being one of the most sustainable living proposals.
MoMita is the child of a larger exhibit “Small Scale, Big Change: New Architectures of Social Engagement” presented at the MoMA last October through January of this year. The main exhibit included other proposed projects for places like Bangladesh, Paris, Chile, Rio de Janeiro and South Africa amongst others. The project for Casa Familiar was designed over a ten-year span by Architects David Flores and Estudio Teddy Cruz, owned and operated by Teddy Cruz, also a professor in the Visual Arts Department at UCSD.
In talking with David Flores during a special tour, he expressed “the way we see humans isn’t only measured by the problems they bring along, we see a bigger picture. We see a person in need of the arts, education and a safe place to live.” This is exactly what they will accomplish in providing once the projects are put to ground. Flores is excited to see the construction through, during the walkthrough of the “El Salon” showcase, his eyes lit up every time he moved over from describing one of the settings to the next.
After all, this isn’t the first time a designed project he works on for Casa Familiar gets ready to come to life. In 1998, he saw “Las Florecitas” the first first-time homeownership project realized. If all goes as envisioned “El Salon” will be just a block south of “Las Florecitas” and “Los Abuelitos” just 400 feet over.
Each of the two complexes will have a personality of their own. “El Salon” aims to enrich families by offering a stimulating array of artistic opportunities. It will include twelve affordable housing units. The church that now sits on the property, the first to be built in San Ysidro back in 1927, will be turned into a community center where residents will have the option to create on their own or through an alliance with UCSD students and professors willing to share their insight through workshops at the center. The church’s attic will serve as Casa Familiar’s offices. A minimalist designed garden will be the connecting element between the units and the center, also serving as a community link to public events.
“Los Abuelitos” will bring two generations together under one roof. This project is specifically for Grandparents whose grandchildren are under their full custody. “With ‘Los Abuelitos’ we keep the same idea of service integration as with ‘El Salón” explained Flores. “During community forums held at Casa Familiar, one of the most resonant needs came to light from seniors whose sons and daughters were away in prison, ill, working all the time, or gone for good leaving their children behind with the grandparents who live in studios or small one-bedroom apartments and can’t afford to rent a larger apartment to live in better conditions with the grandchild” shared Leticia Gómez who has been working at Casa Familiar for the past five years. The 13-unit project seeks to give those grandparents that opportunity, it not only offers affordable housing it also comes with a daycare facility and will be built with easy access for both senior and child.
Solar panels make the project energy efficient which in turn also helps keep costs down. The projects are still undergoing certain city permits but should begin construction by 2012. Casa Familiar is one of the first local non-profit organizations making a strong effort to shift cultural demographics caused by immigration within many mid-city neighborhoods and whose primary goal is to aid families not simply through affordable housing but by creating social engagement within those housing projects.
MoMita will be at Casa familiar’s The Front through July 31, 20011. If you’re interested in exploring the rest of the projects in Small Scale, Big Change they are: Primary School, Gando, Burkina Faso (Diébédo Francis Kéré, 1999–2001); Quinta Monroy Housing, Iquique, Chile (Elemental, 2003–05); Red Location Museum of Struggle, Port Elizabeth, South Africa (Noero Wolff Architects, 1998–2005); METI – Handmade School, Rudrapur, Bangladesh (Anna Heringer, 2004–06); Inner-City Arts, Los Angeles, California (Michael Maltzan Architecture, 1993–2008); Housing for the Fishermen, Tyre, Lebanon (Hashim Sarkis A.L.U.D., 1998–2008); $20K House VIII (Dave’s House), Hale County, Alabama (Rural Studio, 2009); Metro Cable, Caracas, Venezuela (Urban Think Tank, 2007–10); Manguinhos Complex, Rio de Janeiro, Brazil (Jorge Mario Jáuregui, 2005–10); Transformation of Tour Bois le Prêtre, Paris, France (Frédéric Druot, Anne Lacaton, and Jean Philippe Vassal, 2006–11); and Casa Familiar: Living Rooms at the Border and Senior Housing with Childcare in San Ysidro, California (Estudio Teddy Cruz, 2001–present).
LIMITLESS VISIONARIES
Youth art moving forward
By Geneva Gámez Vallejo
Art takes a step forward and brings light to the community. While teens piled by the thousands at Petco Park to audition for American Idol, Diana Viray, a senior at Lincoln High prepared for her opening performance at the Jacobs Center during their last showcase of “Limitless Visionaries: A Collective Mosaic of Youth Art”.
The exhibition held from mid-June to mid-July included mixed media art by freshman through senior students from Lincoln and Morse High School, the School of Creative and Performing Arts, Gompers Preparatory Academy, and Crawford Multimedia and Visual Arts School with special performances held on the weekends at the Jacobs Center’s Center for Community and Cultural Arts gallery.
Viray is one of the region’s talented students whose only dream is to overcome adversary, and follow a passion that comes out of reach to many during the state’s troubling economic cuts. With a fear that comes more often than not to students nowadays as signs of losing elective courses such as art, choir, etc. radar near, hope is held closer and stronger than ever.
To some, hope is the pillar where motivation thrives. “I’m really sorry about that [educational budget cuts] because art motivates students who are in trouble, it’s a way to release stress” expressed Viray, whose younger brother and sister eagerly waited for her performance. She also commented on how her school –as are others- commonly carry a negative connotation to them by virtue of demographics, which is why she strives to prove a brighter side. “I feel if you participate in your school and in your community, it shows how much you care about it and yourself and it helps people see more than what they hear about. We [at Lincoln High] are trying to make a good image for ourselves” she explained.
A feeling also shared by coordinator of Limitless Visionaries, Sherehe Hollins who expressed “…because our community is oftentimes prescribed as at-risk, disadvantaged, and undeserved, there is a negative stigma attached to those prescriptions. Oftentimes the youth internalize those prescriptions and don’t live up to their limitless potential. Even when the youth in southeast do live up to their potential oftentimes their genius is not recognized or celebrated by the larger community.” This is the reason why she created the exhibit, as she described, it was a “…way to affirm what the youth in southeast communities truly embody, and that is, brilliance, power, and love.”
The show came to life with the collaboration of the Jacobs Center and fore-mentioned participating schools. Curator Rogelio Casas of Centro Cultural de la Raza and member of the Arts Advisory Council, along with Ms. Hollins chose the forty-four pieces of art at the gallery by working closely with the schools’ art programs and teachers. Because this is Jacobs Center’s first very own exhibition, you could tell it was carefully put together and heartwarming to the community. “We personally went to each school to choose the works,” said Casas “students were very happy and particularly proud to be in the exhibit.”
Selected work included end of year projects created by students with somewhat of a similar theme. Some impressive black and white portraits were amongst the drawn and sketched pieces that stood out by students as young as fourteen years old. Others included mixed media sculptures in a glass display, photography, a wall dedicated to modern day activists and political figures, and paintings. Part of the art selection included live performances of student poets, musicians and singers.
“The purpose of Limitless Visionaries is to unify youth from different cultural backgrounds and neighborhoods in a collective celebration of their artistic genius and in recognition of a commonality they all share: the gift of creative expression” said Hollins.
In their last performance event, Diana Viray caught the audience’s full attention with a sweet voice as she sang, “Blessed” by Christina Aguilera while her family clapped along with proud smiles on their faces in a crowd of some forty in the audience. As the exhibition drew close to its end, it felt as if even if there were no other reason than to capture that very moment of happiness in the students’ and their families’ eyes, the exhibit would be worth doing all over.
Monday, January 17, 2011
Restaurant Week And More Culinary Galore
By Geneva Vallejo
All foodies, better gather your utensils and have an appetite. If you’re still wondering why, than I’m afraid you’ve missed out on previous food ventures that only come twice a year during San Diego’s Restaurant Week.
But, worry not. You’re still in time to attend this year’s, as the running dates are from January 16 –21 (fyi: some often extend through an extra week). If you’re still perplexed about what this is all about, it’s simple. Nearly 200 participating San Diego restaurants open up their doors to new and existing food lovers by offering uniquely designed three-course menus to attract the human palate.
Organized by the California Restaurant Association’s San Diego County Chapter, Restaurant Week seeks to uplift the region as a premier dining destination not only for out-of-towners but also for locals. On it’s seventh year as the county’s largest and most successful dining event, Restaurant Week brought in over 140,000 attendees last September alone. This brings a light of hope to the restaurant business given the failing economy that has been no more than a dreadful vision of what the year may hold.
“We try to plan the Restaurant Weeks during slower periods for the restaurants to help them keep the restaurants full. In January it falls right after the busy Holiday Season and in September it is right after schools begin and business tends to slow down a bit. Restaurant Week not only brings additional consumers in the door during the event but it brings in a lot of new customers that will hopefully return to the restaurants again after Restaurant Week” says Jenna Thompson from McFarlane Promotions, the PR agency in charge of marketing the event.
During Restaurant Week, pre-fixed menus range in price depending on the restaurant, but will not divert from being $20, $30 or $40 per person. While it may sound out of budget, when you do the math, fast food isn’t as cheap nowadays, so giving up a few of those quick outings for something new is worth the shot. Take this tactic: many locals have made an event out of the bigger event and look forward to it year after year.
“I’ve gone to every Restaurant Week since its inception and look forward to this year’s” says Geraldine Corona, a former business owner who now works from home as a freelancer since the economy began to go downhill. Corona particularly marvels around Restaurant Week because it’s an established event with specific dates. “Knowing it will come twice a year on specific dates ahead of time, helps in planning and saving for it. Also, knowing what you’re going to pay eases any surprises when you take the tab.”
While others may complain about drinks and gratuity not being included, but you’re already getting a good deal and if you inquire enough you’ll find that many restaurants do pair up drinks with the course.
If you’d like a tip, some of my recommendable places are, The Cowboy Star on 10th and Market (to-die-for steaks and just about anything on the menu); El Vitral Restaurant on J St. (near Petco Park) some may consider this expensive Mexican food, truth is they have an amazing chef and one-of-a-kind drinks with one of the largest tequila collections in town; A place you MUST go to if you’re a tourist or a local is The Marine Room in La Jolla, this is one of the $40 per person restaurants, but well worth the forking out. There are specific dates you might enjoy best in January due to high tide, make sure to call and ask. Cucina Urbana is another favorite. This trendsetting hot spot has an extensive wine list and sits just a block away from Balboa Park.
“The restaurants tend to get quite busy during Restaurant Week and often book completely full. This is why we highly encourage reservations,” recommends Thompson. For a complete list of participating restaurants go to www.sandiegorestaurantweek.com.
Side note: If you happen to miss Restaurant Week there’s rumors that the first Pop-Up Restaurant experience for San Diegans is just around the corner in February. The concept comes from larger places like Los Angeles and New York, it basically travels chef and crew from distant or short-distance cities to said destination for a specified amount of days. So you get high-end food sans the high-end price tag in a less stiff environment. For details visit www.relaterestaurant.com or simply wait for the next Restaurant Week in September.
Tuesday, June 29, 2010
The Trickster, defying physics and gravity, snaps in and out of KOOZA, the world he has put together for The Innocent. Flashy, exotic and entertaining, he is thirsty for souls. He creates a world of rhythm—at the pace through which society flows—presenting the boy with the endless pleasures of life. Through a total of ten acts, we learn that there is a quest for identity in everyone’s life even in the darkest of all places.
GENEVA GAMEZ-VALLEJO | March 2010
Call it discipline. Call it coordination, production or even practice. Call it what you may. But what Cirque du Soleil brings to the stage is a phenomenal piece of art, time and again.
On their new venture through our city, Cirque brings KOOZA (from a Sanskrit word meaning 'box' or 'coffer'); the tale of The Innocent, a young and loner boy and his quest to find his place in the world.. The show that starts off with a live orchestra of different characters dressed accordingly, is swirled by varied artistic tenors. It sets its tone with a script that needs few words to create the ambiance of a naive world darkened by the evil forces in our day to day.
The boy in striped pajamas stands alone on the stage, rides his tricycle and is marveled by the very thought of seeing his kite fly. His subconscious is taken over by a great force of darkness and impurity, presented by the Trickster, yet he remains innocent at heart. Melancholically, he wonders why he is alone in life.
The boy receives a jack-in-the-box toy that springs to life a castle-full of hysterical characters that quickly take over his adventure and introduce the audience to The Innocent’s journey as he searches for his identity.
The Trickster, defying physics and gravity, snaps in and out of KOOZA, the world he has put together for The Innocent. Flashy, exotic and entertaining, he is thirsty for souls. He creates a world of rhythm—at the pace through which society flows—presenting the boy with the endless pleasures of life. Through a total of ten acts, we learn that there is a quest for identity in everyone’s life even in the darkest of all places.
Each act is mesmerizing and unrelated to the previous or the next. The audience will be mesmerized by four acts in particular. The Contortion, a jaw-dropping simple act of three staged upon a small wooden circle that will make you drool or at the very least, wring your hands like pretzels every time you see the forms created by the performers who embody surrealism ever so gracefully. It is beyond what you can imagine three rubber bands diligently twisted and curled could look like.
The High Wire act, performed by perfectly fit Spanish men is also a wonder in itself. The Unicycle Duo rides around the stage ever so sensually, and another sensuous couple in the Wheel of Death, dressed in spiky leather pants and with an unreasonable urge for an adrenaline rush, makes everyone under the big-top tremble with fear.
Truly a spectacle to see in KOOZA Cirque du Soleil takes some of its best elements and combines them with the silliest of slapstick comedy, resulting in an extraordinary show which resonates and presents art at its best every which way you look at it.Tara Donovan, Untitled (Styrofoam Cups), 2008, Styrofoam cups, hot glue, dimensions variable. Artwork © Tara Donovan, Courtesy of the Artist and PaceWildenstein. Photo by Dennis Cowley.
Tara Donovan:
A Materialistic Splendor
By GENEVA GÁMEZ- VALLEJO | October 2009
I remember the first time I experienced Tara Donovan's work back in 2006 at the Pace Wildenstein's gallery on West 22nd Street in New York. The “Untitled” installation –as many of them are- consisted of 3 million white plastic cups, resembling a topographical landscape. The piece valued at $350,000. I was mesmerized, not by the zeros tagging along the dollar sign, but by the intensity of the mountain of cups measuring approximately 5’x 50’x 60’ occupying the center of the gallery. To think of the time, the labor and thought behind it was fabulously conceptual. Needless to say, when I found out she’d be in San Diego, my heart yearned for a moment like back in 2006, when all was white and surreal in a room full of roaming art driven goers.
Tara Donovan, Untitled 2008. Transparent polyester film Artwork. © Tara Donovan, Courtesy Pace Wildenstein, New York. Photo by Dennis Cowley/ Courtesy Pace Wildenstein, New York. |
Awarded the 2008 MacArthur “Genius Grant”, the MacArthur foundation described Donovan as “…an inventive young sculptor whose installations bring wonder to the most common objects of everyday life” adding on that “Donovan’s site-specific, sculptural works transform ordinary accumulated materials into intriguing visual and physical installations.”
Donovan’s work can be perceived as intricate as having to count the grains of salt that fill a cup. She doesn’t start working on a piece, without first deciding what kinds of materials she’s going to use. Due to the site-specific process of her installations, her work usually needs to be reassembled from scratch per exhibit –an art form in itself. Entitled simply "Tara Donovan" and organized by the Institute of Art/Boston, the exhibition is one you cannot let pass without appreciating.
Not too often does our city have the pleasure of experiencing the work of one-of-a-kind artists as such -which is why it is nearly an honor to know that Tara Donovan's work has taken over some of the space at the Museum of Contemporary Art San Diego. In this show, the piece showcased features mounts of styrofoam cups curving on and about the ceiling like a dimensional illusion of a photograph you’re more than likely to experience in a biology book.
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Tara Donovan” is a nationally touring exhibition that surveys the artist’s work in a museum-like environment for the first time in San Diego. The exhibition runs from Oct. 25, 2009 – Feb. 28, 2010 at the Jacobs Building at the Museum of Contemporary Art in Downtown San Diego. www.mcasd.com.
By GENEVA GÁMEZ-VALLEJO | November 2009
Two years after CUBO, comes CUBO: MediaWomb, a collaborative project that explores the reflection of how social space and public culture can be transformed and embraced by people.
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To understand this new embodiment of the project, you should know how CUBO came to life. Back in 2007, local artist, Camilo Ontiveros and colleague Felipe Zuñiga explored the idea of creating an object that could bring together the notion of social architecture through a transportable sound sculpture whose sound track would respond to site-specific locations. They created CUBO, an orange plastic cubed transformable object that articulated experiences in its interior and exterior.
By its final phase, CUBO had a total of 14 collaborating artists of various mediums. Its goal was mainly focused towards provoking the irruption of different sonorous gradients, incessant voices, ephemeral chronics, and ambient episodes in the city of Tijuana. CUBO made its first appearance in our border city of Tijuana, then in Los Angeles and San Diego.
MediaWomb is an organic transplant of the first CUBO, embodied in a different structure –one where the audience is not only allowed to listen in on, but also invited into. This new project is put together once again by Camilo Ontiveros and Felipe Zuñiga, with special collaboration by Giacomo Castagnola and Nina Waisman.
The artists describe CUBO: MediaWomb as a project that “began as a dialogical exercise in response to the media's monomaniacal presentation of Mexico as a space characterized solely by sensationalist crime. The collective wanted to complicate this image, by exploring the under-represented terrains of community and non-violence, to generate layered reflections on locality, media and material geography in relation to the body and its interactions.”
For Ontiveros, it was of extreme importance that the new CUBO would once again, reach out to the public and create some sort of reflection and discussion about news, words and sounds that surround us daily.
“…In my practice, I have focused on creating platforms for dialogs. My intention with this has been to look for alternative ways, both inside and outside existing conventions, to open forums for discussing politics and aesthetics.” He added, “In conjunction with this, my work often deals with questions about the systems that produce the societies in which we live. So, the opportunity to investigate the effects of media and open up a site for reflection to be manipulated by your own body was something that excited me about the CUBO: MediaWomb.”
Some of MediaWomb’s embodiments include mobile sculptural-sound interventions, sound and music performances, ephemeral radio transmissions, and youth-at-risk workshops in the cities of Tijuana and Los Angeles.
Taking the opportunity to sit inside of CUBO: MediaWomb and listen in on some of the clips that the media feeds us is quite extraordinary. The structure resembles an upside down sofa that wombs the guest in warmly, and is composed of recycled egg cartons, uniquely constructed by Castagnola. It has a set of dynamically impressive motion sensors that create sound, and speakers on the side that have endless news stories to tell.
Wednesday, June 11, 2008
Maya Lin: Systematic Landscapes
Maya Lin: Systematic Landscapes
A reflection upon environment
By Geneva Gámez
You probably recognize her work more than you do her name –yet she’s a world-renowned artist, honored as one of America’s outstanding women at the National Women’s Hall of Fame (at the same time as Hillary Clinton) and her installations include some of our country’s most famous monuments. She's the creator of the current Maya Lin: Systematic Landscapes exhibition at the Museum of Contemporary Art (downtown location). Much of her work consists of site-specific landscapes that integrate people with land and pronounce land as art.
As the brainchild and heart behind the Vietnam's Veteran Memorial in Washington and The Wave Field at the University of Michigan –to name a few, Maya Lin is no rookie at producing large scale minimalist pieces that impact the viewer immediately and although she usually works with outdoor landscapes, this is one of her few exhibits that is indoor, and that magically maintains this close relationship between land and people.
The exhibition consists of three large-scale installations, her 2 x 4 Landscape, which consists of over 50,000 2 x 4 boards standing on end; Blue Lake Pass, consisting of 20 cubes made from particle board that map a section of Colorado landscape; and Waterline, made of black aluminum tubing, and maps an underwater mountain.
Lin’s installations are a series of reflections on landscape--some are specific geological masses, others are abstractions that remind us of landmasses and water forms. While not specifically about our regional landscape, Maya Lin: Systematic Landscapes invite observations about the world around us, making visitors more aware of our own rivers, mountains, and immediate natural environment.
The installations offer a strong sense of awareness to landscape and the use of architectural space through their size and materials. Senior Curator for MCASD, Dr. Stephanie Hanor, said in this particular exhibit, Lin uses common building materials to create large-scale topographical maps that are immersive in their size. She described the pieces as “unusual in how the visitor interacts with the pieces--you can walk through and under some of the works. There is an immediacy and an accessibility to the works--the form and materials are recognizable, but the scale and experience of the pieces are unique and magical.”
So when you visit the Museum of Contemporary Art and see that mountain landscape built from an endless count of small plywood pieces taking up the largest room at the museum along with a series of carved particle board blocks indistinctively unavoidable as you enter, and an underwater mountain with a tangled design hanging from the room to the right –you’ll know that’s Maya Lin.
The exhibition is open to the public until June 30, 2008. www.mcasd.org
Thursday, February 14, 2008
to my valentine
Lately, I don’t think you of you at all
Or wonder what you’re up to or how you’re getting on
I never think of calling you or how things could have been
Or wonder where you sleep at night or whose arms you wake in
I’m living alone, living alone, I don’t need you anymore
Living alone, living alone, I don’t need you anymore
Lately,
I don’t get lost in daydreams
I never lay awake at night staring in my bed
And I don’t think about your face or anything you’ve said
And I don’t think twice when someone says your name
Or twist my mind in circles wondering which of us to blame
I’m living alone, living alone, I don’t need you anymore
Living alone, living alone, I don’t need you anymore
I never walk alone and think of all the empty words
Or wonder when the day will break or when the tides will turn
And I don’t break down when someone says your name
Or twist my mind in circles wondering which of us to blame
I’m living alone, living alone, I don’t need you anymore
Living alone, living alone, I don’t need you anymore.
Lately, I don’t think you of you at all.
Lately, lately, oh lately.
Lately by Helio Sequence
Fri, Jan 14, 2011