Los Angeles-based artist Euan Macdonald produces a variety of unlikely circumstances to realize a series of “what ifs”. In his video, Three Trucks, ice cream vending trucks meet at a three-way intersection. As the trucks creep forward, each sounds its quintessential ice cream melody in an enchanting, if haphazard, harmony.
Los Angeles Artist Euan Macdonald plays on upending the everyday. What starts as a gently swaying hammock soon climaxes to an extreme defiance of gravity.
Euan Macdonald’s work captures quotidian life through a unique lens, reflecting unseen nuances of mundane activities. He uses video, drawing, and installation to develop evocative content out of ordinary subjects. YBCA commissioned a new work by Macdonald titled 9,000 PIECES; the result is an intriguing and thoughtful single-channel High Definition video shot at a musical instrument factory in Shanghai. The factory manufactures high quality pianos for export around the world. The video records the intricate mechanisms of a piano being vigorously tested by a machine designed to determine the endurance of pianos. As with some of Macdonald’s early videos, 9,000 PIECES subtly points to questions about the sustainability and speed of fast changing economies and globalized societies.
MEET at 3pm, at the Balzac sculpture in Rodin garden, in front of LACMA along Wilshire, east of Chris Burden sculpture
Maria Nordman, a contemporary of Robert Irwin, James Turrell, Douglas Wheeler and Larry Bell, is known for her work using light and space as her primary materials. She has a film currently up at LACMA as part of PST, and will be giving us a guided tour/artist talk.
Maria Nordman Filmroom: Smoke, 1967–Present
Shot on a beach in Malibu in 1967, this film features two professional actors, a man and a woman, who were asked to be present at the given location at a certain time. No script was provided to them but the artist gave them specific props: a cigarette lighter, a box of cigarettes, and a chair. “The Pacific ocean and the sun are also actors in the scene,” Nordman says. Two cameras—one static on a tripod, the other one following the movement of the actors—recorded the situation. The films are shown side by side with a wall in between that creates three defined spaces. The room to the left features the film shot with a hand held camera and the chair used as a prop in the film. The room to the right loops the film made with the fixed camera. There is a third room where the viewer is able to look at both screens, witnessing a situation that keeps unfolding in time and space.
For three years Los Angeles based artists Eve Fowler and Anna Sew Hoyhave been collaboratively experimenting at the edges of photography and sculpture. Embracing an aesthetic of chaotic feminism, the pair wrestles the clutter of daily life into submission, gleaning new messages and meanings from the hidden underbellies of everyday objects. Using a combination of photographic materials, Neanderthal technologies, and live light actions, Fowler and Sew Hoy reject the reason found in illumination, opting instead for open, interpretive possibilities for visual understanding.